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Feiruary

t5-17.93 800,247.3081 Miami Bocks! Easl Coast Music Forufi

MiamiBeach ocean Reso{

Mlami, FL February 17.21).93

305.531.9113

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305. 563.4444 South By

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AustiD, IX ilarch 17-21,93 512,4G7

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lleu Music Semilar Sienhn ller Yo* lleu, Yo*, flY

Ju|y20.24.93 212.581.i000

This month in lvlicrolile, quick music industry quotes...V "l didn't like the idea of taking a Philly house song and putting "La lsla Bonita" in the middle of it. But that's what she wanted, s0 that's what she got." Shep Pettibone on the lvladonna's, "Deeper And Deeper." [Eo,/Vvinter '92] V "The decision to end this seven year

-

relationship was a difficult one for all concerned, but in the jinal analysis, we believe that this was the

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best way to resolve our creative differences. We wish lce-T all the best.'- Warner Bros. Records Board Chairman Mo ostin commenting on Sire records' decision to drop Ice and Body Count lwarner press "Starting this month (Jan/93) we're prorelease].

V

moting a new Prime Cuts National Gay Club chart, based on the returns of lhe main DJs in gay clubs across the whole ol the UK."- Prime Cuts magazine editor lan Smith. Call 71.254.5035 V "For the millions ol fans around lhe world longing to take home a piece of Beverly Hills, 90210 ,lhe new Giant Records soundtrack album is the answer. With a line-up that includes Paula Abdul, Color lMe Bad, vanessa Williams, and Shanice, just to name a few, it's hard t0 imagine a more exciting album lhan Beverly Hills, 90210-The Soundtrack"-Giant press release.

Possessed! lnteresting this issue is Possessed; Nettwerk Sound Sampler # 4, a C0lvltvlERCIALLY-AVAILABLE chance to taste the current flavors from one of the most consistently alternative labels ar0und! This comp features numerous previously unreleased tracks and all new mixes lrom established and new Nettwerk artists. You get: Consolidated, Peace Love & Pitbulls, Ivlystery Machine, The Final Cut, Severed Heads, Childman, l\4C 9000Ft. Jesus, Single Gun Theory, Skinny Puppy, Brothers & Systems, Teargarden, and itchl Want Possessed free? The first '10 postcard s received reading, "Possessed-l'll take onel" will get

one lree in the mail, courtesy of

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Anyone Gan $prn FeGonds. Why not spin $ome heads? You've got to admit, we do have a point here. And one thatt easily addressed by the extraordinary new DJ-70 Sampling Worlatation lrom Roland. As the {irst instrument designed specifically Ior deejays, the DJ-70 makes sampling so easy, you dont have to be a master mixer to figure it out. ft feaures 16-bit, CD-quality stereo sam-

pling and two megabytes of memory (which can be easily expanded to four). You can sample beats which can be autolooped in tempo and even perform tumtable-like scratching of CD samples-forward or backward,

with or without pitch change-courresy o[ a "Scratch Diall Add a 37 note keyboard and eight pads and it's almost like having 47 tumtables al your disposal. And as

if that werent

assignable

enough, the DJ-70

includes an erght track sequencer lor live sequencing and a built-in 3.5" floppy disc drive for saving samples and songs. Heck, thereb even time stretching and compression, a cue feature, and a "transforming" capabi]iqr The new DJ-70 Sampling Workstarion 1rom Roland. See your dealer today for a test

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lndon-.on r "lo a"d grLdre_.h s 'pe-o .hi.ogo._.pi,ed bo lod, d. ellins w L donsdu onb..e,soo,e. he"orle, who follow D no Morlono ore runnins o new roure rhroush rhe old school pop Now. -rc6 yeo'

mto rhe d ro remr 'inoone( o t ron(er h'r o! lo92 $di' Mob * Don.uo oko kno,n d< 'Moh, t os which *lo.e: o."d.u t oso r -he o.is..ol1 ., ton prc 'ro .u""e*ru on rhe bur, o.d rhe [i J ro copr. .e rhe dlce,/l),i \r "ao.A.*od. peop e .irh rhe, 5I) y.., lro' o M-slin don -ored Lo- rry). reor. ed oll rhe . ro.do.d oonsor lo'rulo. r-r reploces rhe hod,ho ol o" o enr f re Le) boo'dlde o n,dpoced,eqso. rep bonqoet bke rosrol the p+cuson ond onempled su,rd, trcl,ery oveEhodows lhe florbos. B.r,i tr e od.e- ol -es re.L, o. - l- . ol E- opeo. ond ro \ Americon donce mwic, ond produceB expoidins lhe sound, 6e disco remix hos besun. Feotured on rhe co$ette Disco Modern Boli-lndio, rcmix prcducer w.w.ed S (ones.rjougt $ -t .orpt.. *,o" .< o ld o de"p bo." rho. \ no.h.

nq up ollthe trebereody bus 5ylrems Chec[ these: "Bo]i.lndio" rides the "Dominoror" techno rhyrhm wilh voco sr ns the lndoneslon womoi! fi6r oggre$ive ;inging/rop sry e s" ("Dtunk And Dizzy") is one offie mony Mobuk styles lo lollow lhe o,igmo but.diiies on wlth the orleinol"Mobuk Don.ludl'hip rhyrhm, complerewith Public Enemy sompes ond lndion pets

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The Source

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suoeFreble sslems tor lhe more 'no misoieinrer or of bo* seor, rhe donce clubs ln Jokodd, Medon, Bonduns, Yosidkd.to, Deipo$o, ond ql the west coasr Mooy cubs, ore moking the swirch. Nexr step is for lhe lndonesidns ln Holond b l€om up wLlh e Dut.h Echnome ners ond so (ompletely oure,norionol


MEXI IS$UB .

]'eggae island: iamaican mu$iE in thc digital age Phoros by Briqn John

Publnhed by Kingston poblishet Ltd., tA Narwoad Ave., Kinsstan 5; tal 809.926.A091. Reggoe /iiond is not an Americon wdrer's view of lomoicon music culrure, but o series ol reosonings from 3l orrisk ond produce.s on ihe srore of reggoe m!sl. in rhe Dlsito Ase {post 1984 .omputer id dimsJ, irs posr, ond the dnecrons it wil be toking in rhe {ulure. h sireehahe opprooch coptures the love ond shong convictions ihe ortkrs hod rowords rhe Tony Rebelt inr,oducrion occurorely describes rhe boo[ ond how t ek reoders com6 ro rheir own conc usions bosed on rhe orrish' words: "All of rhe dlf{erent resaoe odisrs, produ.ere ond ol of ihor is like rhe membere ol lhe hody, rke fie hond do o dllfereitwork, ond thâ&#x201A;Ź Iâ&#x201A;Źe, do o diflerenr work, ond 6e eyes ond the eoB, but rhey're oll conneded to ihe 5dme body So you're golng b find one com mon thing. Everyone misht pur thelr wod odo$ dif fereni, blr 'm relins you now, ook for 60r common $ing, rhoiwi be rhere .." srrucru'e of rhe

Ihe interviews ore split into th.ee se.tions. "Donceholl Ve6ioi" includes uch o isk os Cho[o Demus, PlieB, Buiu Boiron, Super Cor, Shobbo Ran[s, Gomer Silk ond Tony Rebel. ',Cuhurol Roots version" includes Buming speor, Bunny woier, Joseph Hil (cuhurc), lunior Reid, Holf Pinr, Mykoi Roze oid Ken Boorhe. 'The Mustc tndusiry" inc udes produceB Gu$ie Clork, ldh Sdew, Bobby "Disito " Dixon, Sly Dunbor ond membe6 otlhlrd Wo d. There ore o hundred B&W phoros roughoui thor odd otoosphere to the nreryiews dnd show mony dspecls of jamoicon lite. Reggoe ls/ond does miss cerro n key orr rs, li[e Dennis Brown, Zissy Mo, ey, Grego.y lsoocs, Mul,oboruko ond Yomle Bolo, who oppeor in phoios wirh no occomponying inteNews. Given the impres sve ioeup olreocly present, rhis is d disoppoinimenr but nor o moior drowbock. Overcll, Reggoe h/ond is o very wodhwhie book ond comes recommended for onyone lnterested in ,he everchonginglomoicon music scene.

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DJ/ProducB! Praga Xhan as olgita orgasm lus " ed the revolullon in danco mls c through0ut Europo'- Frcm their basa h Belo um. D,0.lule managod to 'turn $0hno-dislinquished by hsa!.y sequenc€rs, lush voel !zns, and memorable mo odic ho0l6into ihe most vibran! and commsr cirl othhool oa tre irve scene". Catoing to a Eurolcan lave s.ene "lypilhd 0y all-rioht danca pan€s and qourml drugs",lheir rpotrhyrhmic, music is eroric,hoavity sam, plod and powedurly suno", 'drawl0o o0 ihe b3sl 0tindustd:land 1unk". And. allhough lhey'I8 cleady at homs in rhe srudlo 0.0. havo also dsveloped a"phonomrnal" repulrlion as a acl. SaysJads;"We'rc sla0e ani

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EyDq. Jullus Gudmund$0n and Th0r toqelher"tear bils ol rock history lr0m the boneand reass"amblellrs boody piocesinloone oiloday's morc lelch ns musical qarmentt Teen underuround slars n heir lromeland,lh0 ouansl in 1991 made lhe dream move'lo NYC whers llrsy ved in a squald Lower East Side leno menl allthe boter lo immerse lhemse ves n ihe b ues . Two indie EPs led lo the r _crash matorhbeldebul a l tsong prcjacl lhal varies behle0n n0 heavy , "bllndidqiy psychedeiic and graceiully melodic .Inshan. Fuilq Dlnosau is .ock'n roll

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{ PAUt MOONEY [P: Bace (Stepsun] Like [,lel Brooks, Woody A hn orKeenan voryWayans altertheir stinls beh nd the scenes . Paul[,]ooney is step ping nto lhe spotighl wlh h s own a burn debut. Lousiana born,0akland mised Moonyis a comedian/socia cornmentaloa wlro is delermined lo laser n on Amerca s s0re sp0ls'and "expose them l0 his percing intellqerce . nyears past, [40oneywrck much ol narhad Pryols memorab e malerial. casl BDbin Williams and Sandra Eernhard Iorihe f rsi tirne 0n

nalona leevson and crealed H0meylhs clownforin Livng coor. Now'lulled bya rappers and pro-

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Bill"Public Enemy'Sl€phney he unloads 32lracksoi CD, inc udng Nggervamp re" ' Niooerctsin"'Michae Jackson" c arence Thomas" duced by

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Niqqer Ra s ns". Nosy White Peop e', ''Mexicans'. Hamnrer' Wrile Fright' and Caucaslans

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I cAm{rBtt coRPsE LP: Tomb OI The Mutilated (Metal Blade)

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ow did it feel as a lledolins reqqae artist to qo to Jamaica for the first time and record ;ith the likes or sly & Robbie, Bobbv- Diqi' 61. p661;6 p5a15;d M.y; priEq12 It was very ;spirationa . l've always wanted 1o go to Jamacaso as$on as lsland Fecords signed me, I went ihere to rccord wiih some of ihe cr€am ol the crop. I did some record ng in Bob Marley's old studio, so whai more can you ask

fof

What about r@ording with Robert Livingstone and making the whole Super Cat-Wild Apache-Apache

r*orded thre songs ror the LP with Bobed, as wel as do ng some shows in New York afd dad with Super Cat. Super Cat is my ido . He's goi a great voice, I

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good deas and l've a ways bought records on his and Foberts W ld Apache label. nordsformeiouseihe Apache in my name, which is Super Cat's other nme, have to delend llre name wlth my talent. And I use the nme becaus lam proud to be lndian.

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PJniao. Tl-ey're very haots

tional.'ftey came overio Handsworrh and allthe kds were born herc in Eng and. My parents are verycultwal

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and strlct, but alsoopen-minded and suppod ve. How did people respond when you frsl came out with "Movie Over lndia"? l.itia ly t was like humor and carne across as a sort oi novelty act because I'd make a lot ol lndian logs and waslhelrst l_d'an D- But a1n Tor.l?c.q were re leased, people began to take it se ously. General y, the vibe now,6p@idly wilh sorne ofthe people in Jamaica, is that here's a quy who's inlo reoqae music and is iaking the mus c to a new generation oi people.

Any pressure with being nominated Best Newcomer in the Bdiish Beggae lndustry Awards? ps an Asian t's a big rspons bility getting lhe award because now I m representing l6ian people h the reg gae communlty. Because this market is so big, I ve got to impress people as tar as Bombay dd Dehli and as How real is this style and do you think it's ready to

take off with more arlists? There's over two mi I on Asian p€ople here n England As an mls c had to break out in some form or shape, and people want to be part of that. lt will be big if l6ian people get behind it and b€ak it iusi I ke Ja' maican reggae did in Engla.d in the '80s. l've had grmt r6ponse 4 or As an oeop e i- Los A-gela. Toro. .o. New York, and Trinidad, where I d d a show that the promoler said had more lndiansthan anyoihershow

a.

What's the reason for ihis happening now? There's a lot more Asian people in dance today and many of thern had a stdct upbanging lrom fi6i geneE tion parents. There's a whole new generation of people who have had a chance to inlegrate more than thet parenls who came over and went slraight inlo the fac-

toryforwork. Nowthey'recominqoli and brnqinq the rculture intopopularmusic. BeJore, many potential ari sts were afraid of be n9 ster&typed by the med a or cntic zed by the r communities for bet@ying ihen cll l1rrc. We've shown young Asians a way to avoid the stereotyp6 that they get n lhe rfusic busln6s and a way to oet to the top a.d still reta n their roots and cu -

youtedealing with lndiancultureand educating an audience, how are you goins ro d@l with the tearing down of Babri Mesjid and lhe ff

l'm nihe middle ol writing a song about the lndian crisis. l've talked aboui culiure and problems or Asians in "Aranged [,4aniage", iqlDs Warning" and "Dnnk Problems", alLofwhich are sort of taboo ior discussion. Bui l'm dealingwiih these things irom a street peBpetive over herc, not based on how it ls in lndia, because l'm not over there. I ve written a song ca led "l,loving On" Jor the rext single and it s aboul moving foF wadand, y6,lhe lndian th ng isgo ng on and wete aware oi that. You can demonstrale peacefully anci maybe that volce wi I have an in fluence n ndia. Allyou hea aboui is buming down nrosques and templ4- There was a report on the news here lhat ihey caughi iwo whiie people burnifg down a temple. Lyrics here aren'i going to make a difference in lndia, but it might eve a rnosque in England.

What's up on the tuture plans front? Tolrins is delinitely the nexl srep. l'li be back in North America soon after the LP is re e6ed. l've been surprised by ihe response n lndia in tams of requests for interuiews and concen appear ances, so thal wi I happen soon. ln terms of working with other atisis, i'd rike to record mo€ with some Jamaican prcducerc be.ause reggae is my iirst and iorernct love, blt ihere's a singer called N,laLkit Singh who has a greai volce, works a loi in lndia, and has a lot oi respecl in the Asian community, and l'd really like to work with him.

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{interyieryv}

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ls MC Shan schooled in dancehall style? He's more from the rap side oI things. He leis us do what we wani to do. We have ircedom to do what ever we wart and he'll work on the music.l'rn not doing a straighl up reggae album. l'm irylng to mix it up wth hip hop drurns and q ve it that R&B flavor. How is your single, "lrformei', doing? It's kicking up. The video is gelt ng played a I the time. I saw lt in jajl for the f rst time wlthout me puttinq in the tape in myse f. l couldn't sleep. Everybody e se w6 freak ng out. They iked t. They weren't just say ng it, they would tel you i's bad iust to pll1 you down. Tley are the b ggst crit cs, just to pLn you down to their evel. l'm noi saying l'rn hlgher tha them. lt sjust they don't wani you to have an edge over them. They' I tell you stra ght.

lsbeing injail getting

eople have been hearing about Snow. Where are you coming from? Toronto projects, governmem housing. lt's where the shit 906 down up here. Give us some background about how you started id ihe music business. Back in my area, a lot of Jamaicans would hang out ln the hallways md l'd 9o thrcugh there and they would be playlng reggae music, and l'd love itl That diflerent sound. I would get tapes and bring them io my house and dub it. These tapes werE stmlght up from Jamaica. I would listen and DJ over top ol them and then I started going on nry own- I wasn1 expecting to be a reggae singer or to join a band. I jusi liked the mu slcand l'd slng it. Peoplesaid, "Youtegood", so l'djust nice up the danc6lwentto. Have you ever bâ&#x201A;Źen to Jamaica? I don't think they would etrnein. have enough trouble getting nto New York. l've been throwf oli of a couple oi places, ofi planes and trains. Can you go to the States? I w6 on charges but we are work ng that out now.

I

@

Tell me about your relationship with MC Shan. Shan is an oldilme rapper I used io ove. I was into hip hop back then and ater I was into reggae a lot. I focused my mind on reggae, ihat's all I used to play. I never he-ard t every\,vhere, everyday, like today. OJ Prince brought me down io New York, invited rne by his house. He's cooland really down 10 earth. He linked me with my managernent.

:n

lhe way of your al-

There is nolhing there for me. lt's hold ng me back. i found that music is a better lite.

Whatdidyou leamlrom being injsil? Kids today think il's cool to go to jail. Every body inlailis begging orwshingto ge4 out. Don't gel yolrself in the situai on thal wi I

You've menlioned your influences as being Tenor Saw, Nitty Gritty and Major Wordes, all ot whom have been killed vioI like

the

rcughn*k 6pect, bad boy sty

e.

Are you going to be around in five yeaE? l'rn go ng to be putting out a bums and pro

Anybody you w6d ro big up?

llcShd, DJ Prince, l,lessen]ah and Whiiey Don ironr Canada. hteMew by Ch.rles Mcclynn


*trEEL LIKE gNEN,,,

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..FEEL LIKE gIN@IN,,,

The explosive deh-rt singte bU

SANIDY B

Producsd & M xed by Sha.k Thornpso. and PautScottlor B.O.p. Enterlainment Bemixed & Addilionai Production by Davd Morales ior Oef Mix Productions

offi% lEqrclssE@s^.

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tim€s when you uss a lot of samples and nufi. Uke when we goi her€ and saw the macrophone srands.

Ih€y assumed

ttrc

musl be some singeE in the t and because w€'ve got le.nale vocals. Do people hsrass you about ssmpling? m: Yeah! oaushs) Prcblem is, thBre's a lot of bad sampling that goes abolt, wlth p€ople just nicking big churks of som€one else's r€cord and makng a chorus, th€n someone else making a chous of that. Wo would NEVER do that We take a small pad and re-phrase it and make it lik€ an instflrent Thsre's a lot ofthings in our recods tlEi only Jez and I know what they are. There's no way that anybody 6lso cou d ever iigure av6

Eu

ov6r

Jlfl: We've qot a lrack that probably won't b€ rsLeased, lhat we did Just because we €ad that the Beates woukin't allow anybody to sample then musb. So we sampled

ben to t tah?

I I I tl;Grtutt lt would be i.te,6r. l;*",1Hffi"ffitr"""

IJI

Jrzuillis: I visiled there

sas

some ot "A Hard Oay's Night", $tefl played it backwards, pd it thrcugh dislort-ron, lransfonned it so that it cuts in and out. The

kid. I puked in the Sat Lake, afts swallowing

So why ar€ you

s41en I

a

sounds are really wdd and nobody would ewr know that it's th€ Beatles. lt's just like a littl6 "band" joke, becauss w€'ve got the Beatles on the track and that's wherc the

tltah Saints?

Unfortunalely, there's nothing too deep about it- lt's lust very hard to g€t a name now that's c,o€6n1 immediate, gsl JW:

associated wilh a paniculartype ol sound- The Ulan thing acrualy came olf a flm €tbd Adsir,g Adzoraright at tt'e end, he talked about Uiah. We just thoughl that Utah was an undetused word and kind ofcool, andtheSaints thing came on 1o make t ieel ike a band, give it a team kind ol feel. We also wanted something ihat would look good. IE: we think h would look good nexl to

"IlEmt

a hr 0l

had

I

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What sort of rEcod collecttonE do you

I0: We've got maybe 8,000 rccords nght ol soltcone ekeE

llh urudd

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fiar!"

IG: We actual y mel through DJ-ing, al a club in Leeds. in England. I was doing a

Fnday techno nigl't.

Je wB

doing Satur_

You're aho a O.,? Ar€n't you aom a rcck electrcnic rock band. DJ-ing I just do as a hobby, rea ly. Well, a hobby ihai pays my rsnt. I can't bst mix the way thal'l'lm can-+e was in the Dlvlc minng semi-tinals, '89, bL,'t he neve. admits it... I naied a '70s disco nighl, Play_ ang Chic, Sisler Sledge, Donna Summer, James Brown and all that kind ot slt ff, ad thafs tak€n oft really, really well. Now, I have two main nights, Monday and Thulsday, with about 1 ,000 people each, and t's all got so popular, we colld JW: Yes, an

@

And wh€n we lind a sarnpb lhat we'rc gc if itb the digntest little thing irE LBe,

ll try and track doMr tho CD veEion for the qualily. To make our album, we ended up buylng about 300

like a single word, $,e

sta.d

going to each oths's nighls because, ahhough we p ay difierent styls of music, the way rc DJ s actua ly quite s milar, how we put records together and get from on€ sound to anothsr. So we de cided to make a €cord, and the lirst was "What Can You Do For Me?" We pressed a in alt, lhousand copi6 ad oQ€cted to f we wre leky, 2,000. Double our money and go on to the next ,ecod- B'n within thre months il had sold 175,000 copies in Britain. We still look at everlhing past those inltial 2,000 records as a bonus. Jlfl:'Tllen, wilh Somethinq Good ' in Brliain, we werc rnore or less starting aga n from sc€tch in ihat pede had forgotien the frst one by ihe time we got to lhe smrd one. TE: We

ally on the cass. Tm lslhe DJ, and he

now, going back to about I 979 or '78, .nd some ear ier stuii for our clLrb nighis, older tunk and rare groove. But at east halithe records arent lor listening, iust for samples.

ws

U2 on rhe rccod acks. lfour label drops us, we'll keep lhe logo bd changE the

How long hav6 you been togelhef Jlt: Less thai two yeals we've been re-

sampling agument ki.ld or ralE do{tn.

CDs.

htlst

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Se€ing you guF od stage, it .ealy hit how well you'E blended OJ-ing and the rock band thing. lfs your sound and also the way you use your 6qt,ipment... JW: Thats exactly what we'rc lry ng to dol Not evervbodv qels thall lt's sirange some

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wlh Soiyaid Malsushilaas panneu iusl lor qood m€a$@ fhe idea b an odusiy slardad, Pn li!s' CD l9Ol p ayer s bas ca lyaC0-R01V unil lorws, which 93% of US households have ll! aho iol a

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DD-B Gompact IisE-nscordable) Sreclalry: Diolalrecord no 1msc, sound erlects, voi.e)

soltwar:

$35 4o/blankdisk (CD.B cDs work0n

C0V (co.viteol

aifhjnq

lladwar.: $500r (loracombipay lhat

thal plays requaraud o CDs)

han'

dks 12'las{discs and audio cDs)

Cru.i.l Dala: Wlh

CD-B te.hno ogy, you canJiialy recod on cD, b!1lhe costhowev0 is beyond mosl oereona bud

C0.BOM

1co-neaa onty trtemoryl on mur. trodrLmn isam.

S!.clallsEd[ pks) g6phics

and oTP (clip arl, lype, pholos)

rhdwarer$400+

(p ays a so Pholo

cD

aud o cD)

CD B0[r 1€.hnoooy s rvhat a lows ,oDTV VIS and Photo CD to er d When an unassumiiq CD B0M d sc s p a.ed in a CD HoL

CaDirloat : CDV combiiEsaboullive mi0 ul6 wodh 0l video wlh 20 m nutes oI d Oilat

0ets, but h reas0nabk l0rbusiness Becordif0 studiosand olhecompaniesare slaniiq to ontr CD mak nq sen ces usinqc0 loraboul l00 bucks. you.an haveasiiqle C0 et.hed ,.om your orig na sotr@ record nO n.tlru: lyo!'vejusl qotla record yorveryown 5 CD,this isthe cheapestwavlo do itt(Bul che.k DAT. d recllo ha.d d sk, [,lD and DCC. amonq olhe.lomats for diO la]record iig allemaliues lhal hdy do m0.e and cosl ess!)

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aud 0. TheyTe colored go d lo dislingush them lrom lheirs lverro ored aud o onLy comtelpans ln theory, lhh wou d be nler eslinq sin!l€sJormal wilh a muecydeo Dlus orc o.l{0 enraaud o mlxes, orbonustracks of a sino e d sc.8ul CDV iusl hasnl re, y ser vced Some combiolay{slhal ray dsd scs afd reo! ar cDs ike llrose lrom Kenwood. Pionefrafd Ph ipr,.ar as0 p ay CDV discs-

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200odiiao lhppy d scs Aded

cal€d cD-B0M playtr has to be used in conlunclion wilh a pnsofalcomplltr, be t [rac or 3M. Wrth ov*a mil on CD-Foti drves nlhe US aid hlndrcds dr soflware li es ava hb e CD.B0M is linaly makiig major waves. And orce coosumerawareness and

compalbilEproblems €workedoullh!hchi0 oqy v ll@ally slarl lo reach ls prom s nq n.tug: Forlhe5' cDlomal, oD-FoM drves e lhe closesllhhg lo univdsa hardw e BLJTyou @a y need the nenq€neraliof ol mulisession cD RoM XA drtves lo iutty take advanlaoe of thiios like Pholo c0. Bottom I ie yraitlorlhreelo six moilhslorlh€ ier1wave of CD-Roi,t de.ks to

naliid:

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rhdw.e

seqar $398 lblnd ed wirh samesllpaysaso audio cDsand CD+c) . TurboGnl{ $219 l0ame syslem plus

C0 atachmentlt $299 [Ttrbo ouo inteqnled sysleml oolh also play aud o !Ds Seoa: u^dfr $50 . Tfbocrah $30.60 (each qame brard wo*s ofly

SoltuaEj

Lauihod:

Se0a: 1992.

T[boGElx

1939

Ctrcl.l llaia: The Sega CD and TrboG6fr-l6 C0 are the 1i6l wave ot

ii

lhe

hlomation Syslen) $30+100

ArucialDara: Video niormat on Syslem flrodu.ed byTafdylhrolqh thet Memorex bmid, s aiolhs CD-Bo[rI-/ sylem Sounds qood so iar, ex.ept torlhe lacl that you can ony use s0ecia vls discs (approx 50lilles are now amilable).And lo lunhercloud maflers, zenilh, which was originaty qo 0q to supponth€ syslm, has pu led oul adopliio a wait and se afltde. [allnr: N01h nq of calinlerusl hseatlhe mom€it, or n lhe Drediclab e

CD-RoM syslems dedicakd to Oams

ButiscD-B0M rcaly uselu

at lhis ooirt,

or jusl ow i l? To keeo cosls down, lhese uiils havo clalively limlled pro@ss nq pover, meaninO theycan'tlake iull advanla0e ot C0-R0M capabi itiB. The ilry's slil oul on lhrs Dadi.ul developmenl and so s Niilendo-lhe oths.videoqame qiant has dec ded to

waitlornewlechioioqy, opring 1o nol to qet nlocD FoMlnl nexthl al east!

S.lligr T*t

dr ve beloreyou buy

Co+G (c[+c.aplics) [r,{yare SDftrrE:

Ss00+ (D ays audio Cos as wet ) $25+ (can ako be p ayed oi Col and

Cru.trlha:

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i

dscsa4 nre

n NonhAme.i.a blna srrono tGmoke market s dev€ op nq w tlr JVc champt0iinq rh.lechno ooy. Soth cD I and CDIV paye6caf p ay cD+G dis6 lallDg: I yod re inlo kaEoke rake 0ote.

;/ CDTV

lcommodole [ynamic Totat vtsionl Sp.claltt: Edlcron 3 qam6s Had*aD: $t99 (Colv. Photo CD,CDlc)

coMPACt OISC

CD+G +GEAPHICS

CrDisl 0.ta:

CDTV is Commodoreh own prop o, an inleraclive cD system. wh ch means lhal lcaf onty otay tltes specia ty made ror

elary

vssioi

CDIV aid irarmeans itcanl play CD ld scs (bad move) cDllr does recognDe aud o cDs, co+G.ThE lury s sll oul of c011, as ir has not mel w lh terilD respois, and il's !oii! lo be to!qh lor cofrm0dorero Dompele wlh market n9 musck ol Ph lhs Sonyand l\ratsrshila, which are altba.kinq

cD

0i th8 plus sde vthlhe addlon ota keyboad disk drive aid mouse, your CDll/ player can be lumed into aAfr qa pe6ona computer. co onE stpiunh{byaddinoaMD keyb0 dandyouv!

a 0,

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I

{f,ecnfire} -r

The Denon DN 2000F may

i.l

t)

n

i

industry stan-

dard pro

ed a

-

have already

eslablished itsell as the

-;-

leased the

DN-2200F. lt's basically a cl0ne of the 2000 with the addition of a Karaoke butlon which allows the unit to play CD+G raphic karaoke discs. And, with

digital signal processing (key control, surround sound, vocal masking, etc.) to the audio signal. The DN-2200F will go for $1350 list. while the DN820 will list for $750. Denon also showed off a

deck

the DN-720R

($5oo), and has plans for

a

double

deck

late r

this year.V Stanton-Vestax has

al

at

@

a

bright new twin tray CD player. The CD-33 is similar t0 Stanton s CD-22 but has a toggle switch for line pitch adjustment.V Digi Design. the people who make Sound Tools, the standard

complete digital recording to your home

a

Akai, a name synonymous with sampling, has introduced a new pro sampler with an extremely friendly DJ

price tag. The S01 is a rack mount 16-bit sampler with 1 Nlb of on board memory that translates into 15 seconds ol sampling time at the fixed rate of 32 kHz. The -.

:l;*,tl?*il. clocks in for

\;, ' .,._r Is J'ffi jw

new single well DJ cas- under $1000.

sette

system called Session 8.

studio-something unheard of a mere two or three years ago. V

the add-on of the DN820 karaoke preamplif ier, the DJ can mix several audio and video sources and add

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mixer and matching twin tray Karaoke CD player, dubbed the Forte Series.V Studio mixer maker Phonic debuted a full line of DJ mixers.V Gemini has

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O Produced by John "Johnbronski" Adams, with Snagg! & Thrust

ellme about the spiritualnature of vour album,

u akbar- at th; besinnme.

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I;:m:,L:fhh"ariah \11 io.a *.". vo. basra,ry r jus, can e aboi oecduse - 1al s wlarwe'adbo".. yo- hnow whd' l'm.ryi-9.l.'s muslc lor how we leel. Where did you getthe chant?

Ll:

We just sampled it oi{ a record that we had.

What is the sample actually saying? Ll: lt's saying, 'God is great. "'A lah u akbaf is Arabic for "God is great".

I limE agrin IEr us l! sle[ baEh lakG a lolk .round end llow with the winrls oI change. Sbaolsouads rowly expendcd Ra[ [EIErlmEnl rGhrfns wilh alr all-nEw design and delivery Hip hop's new ar{ists lor '93 lill out an even hroador spaclnrm ol idEnli[Es and aganWe \ $dtnEss the relrEn ol lhE \'Branrl llutian. the \ anirneterl presenca .â&#x201A;Ź ol lhE PherrydE, 0nyr anger, lhe polilics ol Ilam, the puzde called !B Nurious... Srrdcrsound's ALIE$ Mimlod Eip llop

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How do you think that's gonna come across? A lot of mainskeam listeneB are now getting into AEnd Nubian{hat if they take your message ihe wrong way? Sadat X Well, we got a whole album full of different types oi flavorc-l'm sure there s some flavor on there ior everybodv. UrThat's right, butwe gotta beconcerned about black peope and theircondition and thngsthalthey need to kfow iirst. That's whythere'sthe Knowedge side. The second side s made for coolin'out, and thai's whywe called ittheWsdom sde. The title ol the album, In God We lrust, can you elaborate on that? I know youte Five Percenters, and you do believe in

U:Allahto me iswlihin seli, ya know? /, God

We Irust is leiting people know, "Don't relyon nobody else, you gotta rely on seli-" That's a big message thai b ack people need io lem. Don't be dependefi on a myslery God from ihe sky to come down and save you, or wait for Bil Cllnton to come to the ghetto and get rd ofiour problems. We have to learn as a peopletolrust in seli.

Friends of mine are Sunni Muslirn.ltold them about the Five Percent Nation and they thought that it was an excuse for a religion, because it allows you to more or less to do what you like and to be your own God. Sr But sholldn't life be likethat, thouqh? U: I mean,lilst of al,ll's not a relglon, for us it's a way of life. lt's a thought, il's a phiosophy, it's just...ldon't think that relgion and its tendencies are what makeup God. t's not whal makes up Allah. God s thai powerfulforce wh ch shlnes his ightthrough the universe and spreads truth to those who don't know. God is the conirollerofhis own destiny, and God is aso one who mak6

hisown aws and who is his own judge. No-one can judge God bui himsei, and no one can judge any man bd his own seli. What made you do a song like "Black And Blue'? L,: twasasong about how brothe6 lrom the neighborhood join the law enforcement, and actually foâ&#x201A;Źet wherelheyte comlng irom. They forget thal they used to be out there with brothers, drinkn', smokin', gamblin'and p aying dice. They iorgei thai ihey were brothers and that theyte black before theyle b ue. They de{inliely be 90 ng oLrt, especialy sonre oi ihose black drLrg detectives. Theyte oLrt there abus ng their power, and we'rejusi


Hip Hop Quarterly3 mak n' it public to show peopte that it,s not j'rsi white ofliceE, there,s a tot of

Howareyou going to raise her? SX: How's she gonna be taughl? The righrand

biack officers doing the same thing. I want to get to the sislers now. .,Love Me Or Leave Me Alone,, is a beaditut

sons, bd I know at least a tew sisters who are, like, ,Wh.t do you mean, tove me or leave me alone?,'lthink thar sisters are lookin' for that sincedty in a black man, which is why Bobby Brown gets over, right? U:We l, basicaly, we are being sincere. What wete saying is, Love me. Love sthe highesi etevation ofunderctanding. When others tella wornenlo ovelhem, rhatoften means. civeme some oi that.We mean, understand and know thal t,m God and ihat l'm symbolic to the Sun, and thar tf youte gonna be my woman, then you are symbotic 10 rhe Earth. and the Earrh rolates around the SLn, and l'm only go ng to tead you rght, know what l'm saying. l'm not goingro rotare around you. OK,

wegota fewsistersinthe office here shakin'their heads

L]: Hey, they can shake their heads atthey wanr. tt a[ comes trom their upbingng. People have been broughl uprothinkthat you don't listen toihe btack man,rhe btack man is srlpid. you see, thatsong is comlng from arishteous man,s Dointofview. Notjust any black man can say thal now. SX: Because everv olacs ra. ain't dcn.q rigrr a. d e, acr. I l:B-i'lyou got vous.lfa r'qhteo-\ otac< rrar, who so^y going to try to do good ior you, you gotta either ove him, which is to underctand him and cooperare with him, or teave him aione. lt's already hard enough io exist 6 a btack man within thiswhite society and he needs a woman thai he can buitd wirh, not a woman who is caught up tn attofrhe devi,s trick know edqe Bdck peoote beha.gerwirh thersevaso,,/oLr gonnd ore. It's as srrnp e 6 ihat. I

heard you saying that you,re going to have a baby... LJ:Yup, any day now.

U:Believe me, bythetime shegets otder, ihings ain't gonna be the way the way they are now. lt ain't gonnabe everybody having fun. SX Word up, it might noi be none of that shit as we know it now. lt's gonna be some ne( shit. U: lf you wantto knowwhat,m ratking abour, read a book, called The New Wortd Ordu. SX There's somethng in ihis book for both blackand white

Whst drove you guys ro get into the pushed you in rhat dneciion?

6p music industry? Who

SX: Ourcelves, bas cally.

How long have each of you been involved in the Five Percent Nation? LJ:Well,l've been nvolved for like seven years now. SX: l've been involved for aboui three years. Did lhe breakup wiih crand Puba give you a sor ot new vibe? SX Wd , it wasn1 ike we werc totaity unpreparâ&#x201A;Źd for this_ Puba's a great talent, but he's gonna dothings his way. tguess that's what makes him Puba, butrhat,s for whar made Brdd Nubian. Thedireclior welookts more conkoted, adireclion where we setthecourse, we made the guide ines, we created the music and we're basically in contro.

Lastalbum a lol of peopte got mixed up belween SadatXand SX Yeah, but l'lltel you onerhing, ifyou tislen io the l,laslers OiCeremoiy LP, he rhymed like thai. LJiYasee,lihink it didn'i have ary negative eff*is. I think eveMhing cameofiin a posiiveiashion. Everybody was tookin, althe brcakLp asa bao rhing. burlai s ontvme prcde on ihe ois de -o u\ rore oi a retid, oecause now wacan do il 'rwas exactly how it's supposed to be done_ lhl4,er a' Dhnb@hs]<i

SX:ljust had one. Sadat, you ha.l a baby? SX:Yup, a baby gi .

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You guys have been gotling a lot of press. ls it new to you? 13 lt toreign? SK: At filst it was like, a big lhing. A'n it's cool now, How did you hook up with ths rest ot your crew? SK. Weallmetal this placecalled ScU n LA.lt's a place where all kinds of rappeE and local dancers sort I wanted to know because, on your slbum, I don't hear ihe standard hip hopsound that como6 out of LA. Your record doiinitely has a more soul-influsncad flavor, it's moe very lab €vening cocktailish,

€v€n *rzy soundlng... Well, that prcbably happened because our manager had a vsry blg ja.zz collection. He us6d 1o be in a jazz band.

Who produced th3 Phareyd€ LP? It was done by J-Swifl, but t\,€ all got togslher and pul our basic ideas into it.

I

that hard gangsla sound? Notreally. lt'sa aEescen6and peopearen'tonly nto ihat one lype oisound. lt'sjust the iact that the gangsia styl€ of rap broke oui of LA Bd il you rcally took a look around here,,ou wouE nnd a lot of people who like thal New York flavor.

How was it liko playing with ths Brand New Oh, il was great- The song we did, "Soul Flower", was an expedence. especialt them being a live barf,j

Now, if you were President, what type ot agonda do you lhink you would be running? 0aughs) I wouldnl want to be Pres dent. I basically want lo get my own life togetneri being Prcz would make re rcsponsible lor too many p€ople's laves. I would @lly like to get my own life together. Oo you all live in the same noighborhood?

;i3

Actually, we alLliv6 in the same house. So tell me, who are your lavorite New York I like

Who pul the interludes togethsr? Th6re's this sroup down here in LA called Underg.ound Raikoad- we got the druc m€l lrom ihem to do some work. We basically had all of our ideas alrcady, but had to sitdown and organizethem

the

Do you take any flak becauso you don't ropres€nt

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Hip Hop OuarterlvZ was produced by myself and Erick Sermon. lt was a half

ll*:{,;-ri:r.,.,, Who makes up your group? I gol me and the DJ TwinsTheyle frcm Brook yn.

For'93

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How did you and E Double E

studio. I also wrote my verse

lor "Headbangea' in the stu dio. But I usualy do most of my writing n my car.lgot thls I ttle tape recorder and I lght

Back in the day, they [EP[,lD] met me at this club ca led Sensat ons, oul in New Jersey. lt was lke, "Yo,l'm a DJ." Ai lhetime,Iwas cutUng forthis k d. I went up io them to taiktothem and ihey asked

ljust wanna show molher flckers thai you shou d be who you are goingto be.l'm

for them. And that was it, you know what l'm sayi.g?!

beinq mysef on this LP regardless of what the record labeL says, regard ess o{ what a gid may say. Beyolrself. That's why you can visualize my music, because I'm belnq myself and doing what lwant

I

dealwlh nothing but the funk. It's pushed me n one direcpeopLe what

tion:to give the

they v/ant. This whole busi ness has made me a respon sible, more lunker motheF iucker.li's also given me a look at ihe inside ofthe induslry that lnever thought could

title, whut? Thee atbum? It has a oi ofmeaningsto lt.lt could mean an},thing, llke, "What now?" You can appy ii to whatever your mind

liketo DJ or make beats. Producing, baslcaly. l'm al

lovecarloons. puff abllni and l'm like, "Yo, 'm seeing a difierent side to the cartoon."

Ityou notice, a grown-lp cre aied the show, so yourlookin' at whai the grown'up did in rea life. As tur as moves go,I liked New Jack City ard Colo/s. I also got nio BoJz N

visualize instead of hearlng

allaided by the

way I putlhe dlama on there and how ldid the songsand shit- I had a budgetto do one album, bll when I was nn shed I had enough material for three. I had songsthat I couldn t use. Thealbum itself

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me li lcould throwdown- I had ore rap whlch lwrote

What kind of background does Bedman have? weil, my shil's stictly funk.

Ferniles

What about the lydcs? Are you the type of rapper who sits at home an.l writes, or do you do that inrhe studio? The song ldld on thealbunr wlth E Ooube, wrote in ihe

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Brand

Preside.l or whatever, it'sstil people geitin' shot

Narnes

SFr Our music represents angd. That's wtry our logo is the sad face, the mad face,

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BDS: And it's gonna t'â&#x201A;Ź lhe atlack

ofthe cmzy

SF: We tned ol bei. sBd. we wanna be rad now Ourmadnss is comn'throuqh the music, wod

Why do you think "Throw Your Guns ln The Ai/' is a big record in the clubs? You figuro most New

Yorke6 would be into Ihs Low

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the vibe, 'cause ya know lhe vibe is deG nilely live dd af you wanna get wilh this ,lavor maBig DS: We feel what we feel. We want everytiody lo lhrow lhet guns h rhe air and "buch. buck" lihe they don't c&e, know what I m sayin'? 'Cause we'rc.eore*nt,n. md we want everybody ro reproseni with us. Yeah, e they could reprssent by lhrowln' their quns in the air, and buckin' buckeis. SF:lt'sjusi like ifyou feelgood, ifyou feeiin'my muslc, gimmeashol, gimme a "buck, b!ck, buck,

Encl Theory

things like that?

and

BDS:Ourshit is 'low", bâ&#x201A;Źcause "low ' ainl nonrin' but the bottom. The production on lhe atbum and shit is strictly lows, know whal l'm sayin ? SF: And it's probably morc or lN, like the under, BDS: The botl,om, ihat s what we got, the bottom. yd ralked about is

Tte "low ' bottom Exactry whai

eEctt what's there.

Yeah, 'cause the beats sre deflnitely like roigh and rugged and lols of drum ln the bass. But I hearyrallniight have lo go back into the studio and just clean some otn up.ls that true? BDS:What, "Throw YoLrr Guns in

Slnce when did New York hip hop getso rough and rugged? SF & BDS: Yo, it's alwsys been like that,

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llip BDS|No, the album islsi, it's ready. We might go in the studioand shit and try to mako a faiter single for ihe next single to corne out, know what I'm sayin'? "Throw Your Guns ln TheAid'is gonna h€at up and wewanna come back wnh som€ihing really, really, really enlrsiched, know what I m sayin'? The a bum is doiinitoly fat.

Who produced the album? BDS: Charles Skills produced lhe album wilh Jam Masw Jay, and Onyx co-pro duced the a blm wilh Jeff Harrls. Cool Chief did a couple of tracks. SF: Yeah also- wo.d. lt was kiDda lat. We all collaborated, and il was kinda cooi 'cause th€ whole album had everybody's impdnt on its areas, know what l'm sayin'? From verses to skits, our whole o€anization. We flippin'the scipi on tho ftymos, and the beats is iust blendin' in lovely, so tov€ly.

"Suckin'The N6xt Nisoa's Dick" is that

wdtbn from

porsonal €xperience? SFi lt's actLrally about this guy who @ught his gH sucking the next guy's a

dick. !t was an expenence, because it wasn1 so muchthat my girlwas suckin' the.ext nigga's dick but somebody's girl was suckin' my dick, know whai I'm sayin'? So it was fucked up andshit. So it's like haff fantasy, halt real? BDS: Yd mighl say thal il's iantasy, but n's things that are rcal. Whale\,€r I can think about can be achievod,

SF: lt's like cable. ll you pay lor .able to wai.h some sht wilh cursin' and iuckin' and allthat, why can't you pay money lor a record that ssys allthat, which will state explicit lyrics.lf you don't want it, you won't ger it. lf you wanna gel wnh the navor.

11 Orrr

"buck, buck" and throw yourguns

backthe flck upM BDS: Eddie Muphy sianed ofl his movies, he was in jail, whassup in the air, or

Peprcsents That's why

our logo

Man, I shouldn't even be 6sking be iu3t listenin' to ihe tape and bo goin'

qEstiors. I should

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faGG!/ 'cause wE-

BDS: Word up, so k€€p the back d,oors locked and yolrr windows

snut, cause wsle comin' lhrough. Trre mad lace il]vasion. SF: Ofiicial Nasly Niggas.

You wanna add any new light

to

relr&iu { ebut Artist

'92

the cufient hip hop scen€? SF: Yeah, we gonnatake lhis to the top ard hip hop's gonna be

How'd you com€ up with lhe nam€ Onyx? I know iheE's a kid in KMD, a

nic6, quiet kid n.med Onrx, now we gotbald-headed muthatucka's named

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Jam Master Jay: Yo, on the strongth we wanna represent the US ghettos cor6ct, man. I go all over the country and all the ghe!

BDS: Well, Onyx is standin' lor the black slon€, lh€ black stone is hard- Thafs whatwe are. Ws?e had, young, black

Jay, do you have ary influenc. on the old school

WtEt can you say aboul all ttE misb€lieverq ihe on€s who might think that Onyr( is misogynbtlc, violgnt againsi women, encouraging a negative attitude for rap music? SF: Oh, the criiics? The cnrics get the dickl Who aro they to cdticlze me? BDS: You can tum on the TV and s6€ the same SF: We brins it to them absoldev raw. lf they don't wanna see the raw then they get the dick. BDS: Everybody's entit ed totheirown opinion, but we do give iair warning, lhat's why they got the

stylo,

an

rhe way ttEy rap?

Jam llasler Jay: I hsve no iniluence on the way they rap. Ijust told 'em getrough, getrcal,'cause I been to all the shettos. Thev re fom Queefs, ioo. they wanled to say they represented Oueerls, and I told 'em, on the strenoth, y'all rcprcsent th€ United Staies ghettos. They haveasong "USG",lJnited Siates ghettos, ad lhat's what they all aboLn. I seen the whole @unty, I ben around n a bt ol times and that's allw€ comin'out, to straight up rcpresent th€ USG. Whal'sgoin'on inthe USG, is what's goin' o. with Onyx.

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What songs were those?

w6 a mix by De La Soul and another song called "Mnd Yo'r Blsiness , which isonthealbum brJt wiih different music.

There

w..ul rhose rracks, how do yoo think tn6 abum would have be€n dilferent? Ithink those tracks would have made lhings pedectly You leel it's unbalanced the way it is? It's allthere, we evened ii oui, bul it'slust a lit(le bii lesthd what I was wiling to give. The album is r€ally welFroun.led, very div6rs€, not

,

I

just hip hop, but soul and reggae. Thls b the maiy laces of GEnd Puba tnar we neve. s!/r as a member of Brand Nobian. But we did get a little preview

ol this when you w6ro witfi Masters of C.rsmony... Yeah, ihat's righl, a little bit of everfhlng.

It

tl

You've already mado the claim with tho underground market. ls this album also a move on to a much broader audbnce? Naw, it's still basically the same- You can tell by the tmcks. Take "B,g Kids Don't Play'', lhat's more a Mast€rs Of Ceremony-lype thing, then 'Check ll Out" is morc updated. "Lick Shot" is similffto "Fagtime"Yeah, but that's moro on the reggae thing, loo. Well, there was more room to do things.ln a group, youte limited. Wher you do asolo, yo'r can doallthe things that you want to do. Ihis record has definite FM play poientlal. Was that ttE id@ you hacl when you made ihe album? ll's a balance. Take rhe l.ack with Kid Capn, lhal s rn@ h3rdcorc. bui il's not a constaol souod

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hat's lhs name ofyouralbum?

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Oid l,c€ Cubc telp p.oduce? Well. aclually, lce Cut€ jusl ovmaw lhe p.ojecl. We did basically a I ihe work ou6e ves. He gave som€ he P fu hinis and a lol ol oplnions on tho 1rack6, but w6'r6the ones who did most ol them. abnq wnh the producoB.

wtD prcdued "St6rsotype'? lhst's prcbably ,ny favorite track oh tfie alblm...

rolher named Bashad. He woked on lce C!b€'s Death Cedificale: he's with lh€

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wete Tellmeaboutthe intro. FaEkhan,thal's tlst lry .q lo deiiver a clear message ro lhe one serious deep piec€ol intro... people mlheirown ranqlage Oh yeah. most dennnely He swho welollo* rF.oi 6ddp orledllp'drdou' Can v6u br *isetv denrft rhar cbar mes_---- -. qrd-. oon.r^p-a- to. Ty>etroe-dr,e l ::::;------i?o.r.oo" d.n'r not m ld'r" F'worrlnor'n'r l or o,o",,* r,o,. wonh rh6 spa-e'sre,o. hpa r- oa B-l "no,n"n, r,1/i,;r.s ;;.n€d "";;d;;?;;;;r... we r6pr€5€nr sor"ran"h.'r bisqp, IFa' . ,";;;hra;;;;;;i.;;.;; r.i[ Iane rid rh' or tl's wPlPno r 'r's ;.;;""';i; i;;.'a;;;;@Jdrd -- ' --'o' F."ho-oFwesd,dqe oad. < role\ ----";;;" o'lrmpondnr 1o delv4'h" T'\"q' The sisras---{rery low rappeB haE po8ltive cbarty. m.ss.desfe lh6

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asyoo'retelln thelruth. Yo! can'i peple re lin' the lruth.

have loo many

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There's a lot ol albums out there like that now. BOP, By AII Means N€c6sry, ttublc Enemy. now your record. aut do you ihink that these albums have had any eftect on the oeopls who have boushtthem?

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just sayin'thal's what we do oul ofolr rea.tion. We lack the knowl€dge to know what we rea ly should be do n'. Thal's one of lhe reens wele irying io make rEords like i/eva ,49ain, lo qlve lhe I slener a know edgeolhimseli, to elhm krow h s history, whal his potentia s and what he's conthbuted lo c viLizat on and sociely.

You have the Hon. Mitrister aamkhan who's speakin' ihe truth,.. Roht, and Im iustsuppoiin hlm. ...then you gol all lhess rappere out lher€, Sista Souiah, chuck o, KRs-i... we're rryin' to get every black pe6on ool there lo suppod our mesege.

lruce. One oi the mosl important facto6 fo. old rhem ro be sroppirq lher 20 or 30 war w th each other is the Miolster Farakhan and his message.Ths sthemosl histor c evenl lo happe.lo black peop e since w6'v€ been n Amerca. The media isn'l coverin' it ike lhey should o. even g vin' prais for the eifons ol lhes solders, it s b*ome ourtobio do il.

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track "Hang'Um High", you us Eazo's "Biding High"- Howdidyou pick On lhe

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hnh. hose are the lm.ks that $meone broughl lo me. The producer of that pa/ucllarkack was-Iorcha chamba, he brought the irack to me and I wrcte whal I felt. Thal trEck brcught lhat message out of me. I dldn't choose that rccord to do lMl panicular m€€sage to. but tho vib€s ws To 1el you th6

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words: holy and day. There a n l noth n' holy

Harloween ls not rcally a holiday.,, Blt fs lreated likeone. EvenChristmas. thg pracuc€s that go on during chrislmas... You gol the most gambling the most drunkenness lhemostdlme...

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But do you think it's working? lsthe ness.ge getling acro$? Defintely. rhd s why we got ihis s ng e, "Peace Treaty", dea in wilh lhe LA gang

peoplo b€ abr€ you Lrw a- w" r6 rknow, ifsrrsr a cry tur Tell m. aborn "lbliday lrtdnossl. Whai is lhat .eally .ll about? -' Le No 'e o rs is €ueN'ng j,srce$w6 callod hol l's 6bout the madness of tfe *avs. sone oru! rur our i-a.,o,ne,e.. days Ho iday s acombinal on of lwo per nsr anc r e t on. !'d wtFr-'pr!!6r

o' e,so uc^rcaavp.oh,- ioo"eJ v ;;.; :;;;;;:; ;;;;";i ;"";;",, sdrqLo,'dd(1'o doihar..'resoio ;^; i ;;;"4; ;., ";"-" " "" o"' *' e oooresso o' o"' bdcls n i,,.;,i" -ip:, i; '..J.. i l-rr,.:o, " ".'. Ihey teach the fema es Rih And Fanaus. r it's to get rid ol oppressors. then riotang to be materia islic to be vain and lower their should nol burn down whole neighbor ro.dts T.-, r-or.senr ou' i.ue. trc+.ra hoods... our women. They were .ever ike lhal belore l'm not say ng that s whal we shou d do, m

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qi{'x$d{-Hl,ffir}ff more.Ihe only place you really do see lhrt is

places like the Bronxorin Brcoklyn,'cause 13 and th.l's wh5t hip hop ls, word ol mouth. lt's like, "Woq what's ihat be6t?" Everybody's playing music, and everybody has acce$ to n. Ev6n lhough it may not be on tho radio, it may not be at a club, it's actualt out in your own mishborhood... S:Youle mentioning thodifierence between rap and hip hop. Rap isjlst a part of hip hop. We kmw and understand lhat hip hop is a cultuEl

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way of life- The way we walk, ta k, our music and lhe way we drcss. Bap is lust a pai( oflhat.

T€ll ne about the relalionship between you .nd your hood rhat helped inspirs you to make hlp hop r6cords. Who w€re the DJs that you looked up to wh€n you w€re kids and stuff

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S: Gmndmaster Flash, Theodore, ya know, all of the old lime6 who used lo have jams around ihe way, all the local DJs. Thal's why we mak€ mcic the same way they made music back

then, because it rubbed ofl on us. We gotta be

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Tell me about rhe equipmsnt you use row? S: SP{200- ldon't use nothin else. lgotla stay with it cause lain't lamed to rnaster it yel.

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You're still growin' w n the sP-1200? S: Yeah, therc's a lot oithingsyoLr could do with

a machine, but people iusl don1 know. They rather go on to certain lhings becaus it's out. Wete not meant to go along with a lthis technology that's comin'out right now, wete meant to master one thing- Bd people iump at things likenew sampleB,jlst because it's out, but they

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I-Iip Hop Ouarterly don't even undeGtand theold way. Thal'swhy my mlsic's dii terent frcm a oi ofolherpeople's music, because ihey've gone on to thlngs like more sampletime. Who needs more sampte time?lll'sjlst more problems ofgettn'sued. So lstaywith the litle bitofsarnpln iimeand work wlh what lgot.

Tellme about "Digsin' ln The Crates,,.Ifind that hip hop tends to honor it's past to find it's future. Woutdydu

S:Oicou6e, you

iend to chop off the little pieces and make my owi melodiesoutof t, but ican't realy telyo!. The weirdest to me is bg band. I{y favorite lracks on your LP are ,,Hold Your Head" and "nepresent,,... S: "Hold Your Head" a.d "Represent", now what do you callthat type of mLsic? rcan't even exp ain it. lt's someihlng that iJ we ptay ai a party, everybody woud just stop dancin'

gtJ.fl, it's too easrr

to

kill someborty, it's too ElasY tobe[s61.

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test nour istobe -rr,

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S: Goin' back to a couple ofquesilons ago, why I don t elevate mysell into usin' more samplers:tjusi wanna use whai got, so we can break our of ihis. see, we jusr us n, lhe machines now'cause thai's allwe're left with. We don1 have the pat ence orthe lirne where we come from to learn how to play inslrumenis inlo the way itfts and a toi ol peopte can,t afiord io pay tor lessons to be a g@d musician. So wejust takin,whar we got afd we're leamin'on ourown w thour any guidance. When we get to a leveland time where there's peace and happiness, then wecan start dolng things or an independent note as far as

On your CD and cassette there are more tracks than on the a bLrrn

goes

down when there are more lracks on vinyl. tf you have a tot oi songs, the volume w rrbe tow.

For DJs, n s a kick in ihe head when you havea boom kack on the cassette thatain ton the vinyl... S: We have a clean veBlon or the atbum now, so every track that'son ihat cassette is nowon vinyt. We made it tikethat. t was ike, What ii a brother wanna do this and ihat and it ain,r on vinyl? How's hegonna DJ? We made a differenr set ior radio DJs, sothey can play it. How do you feelabout record companies cutting back on

vinyl. especially sinc€ vinylrepresents 2% ofsates, but hetps ro stimulare the other 9a% of the market?

S:How do we know that ii's only 2%?

us

that

they're only se lin' 2% is crazy.lben allover the placeand all theyaskforis vinyl. You gotta undeEtand that the home base for rap s poorback people. Theydo not have CD players.lt took them long enouglr just to get a recod p ayer. So how are they gonnajlst jlmp io CD? A lot oi poor peop e iust don1 have CD players.

pickup a

r people k€€p makin' hip hop records Irom samples,then what kind of past is beins built for our kids in the future?

S:Yeah, you know what I know: the quatiiy of rhe

don't know, you got me? S:We know who's kilin' our culture. Forthem io tell

ttfuiybody can

are so tftre. You don't know the future until you k.ow your pasl. So we ootta study and listen to alltheold h p hop, to keep it atve.

What'sthe oldest record you've looped? S:Aww man,liry not to loop no records.

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what about allthe poorpeople buying S: lt's not their fau t.

But it affects salestoo... S: Yeah, but ihey don't knowthetruth. They don'l know iiwe stick iogether, we can siop alllh s. They'reiust try ng to save a dollar, they wasn't talght no d flerent. lt's not thef iault. lt's the peo ple who are puttin' l out, they know ber ter. They know people's gonna buy t, cause theyte poor, thafsiheirplan. We gofla go to the people controll n' t. You don't go to the bottom to stop the probiem, you gototheiop. Stopthe problem from thetop. Poor people ain't got nothin'io do wlh it, theylust poor. We gotta go lo the rch that's stickin' us up, the

I notice a lot of records becoming much more hardco.e id their representation of hip hop: cangsrar,you guys, and

brothers like Cypress Hill. Do youthink it s good forhip hopto get back tothe undergrcund again, so rharthe comme.ciatiry wears off lor a while ? AG: OicouEe, in ihe long run, itsholld belhatway.

S:lt's gonna stay likeihis. Remember. l siarted from rhe hard core and that's the way it's gonna end.

Gangsta rap is now coming oul bis time in the Midwestand onthe W€sl Coast, and lheydon t seem to care aboui otd schoolt they don't seem to care about keeping it underground, theyiust care about making bucks, by tatking that bitch attitude anc, pulling out their nine every othertrack. AG:Right now, ihat's whatsgoing on in iheir environmenr, so thal's what pede want to hear. Sr New York ls ahead ol ihe rest of the wortd, ir you ask me. Not to put us on a pedestalor anything, but lthinkwe've tearnt a tot oI things fasier. If you iste. to ihe mus c of the rest of the counlry, their mus c is like our muslc from l0 years ago. Luke's music is like "P anet Rock", it s ihe sametempo, it's the same thirg. Too Short s llkeT La Bockand JazyJay, it's stower with crazy bass.lrnean, it's stlldope, butthat's whatwe d d a ongtime ago. EveMh ng sso d frerent, then again it's thesame, ya know what l'm saying? We were the ones on the gangsra iip in the '80s, nowtheyteon the gangstatip. Onlhis side, iiyou took at rappers, they re starting lo talk about reallty agai.. We,re starting to tak about things that are around us. Anybody can pick up a 9!n, ii'sioo easy to kilsomebody, it'sioo easy to be bad. The test now is to be good lhte Ew bv Johnbt.n:ki

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Slgar Bay: One of the Xs

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our name siends lor the sciende beh nd the letter X, which slands for the unknown. We ielt likewe'reirom an area thafs not known to the vast majoity ofthe wo d. Bein aka the ghetto, the streets, lhe street gangs and a way ol life tha! s not familiar to mo€t people. Thats where we're comin' from, so we represent that unknown area. The other x is that we wan o establish the fact ihat we gotla stop our brothers out in the X from killn' each other. We have to come together in unity. Ufiiy is power,

it'sstlength. Usallbein'ircmthegh6tto, livin' the same litestyle, we have io all come togelher as the Double )q Posse. lt s like a lamaly, everyone ftom

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eot your loot in the door?

[new it was a business thing, but we wercn't .eally lamiliar with the busins. So we deal with people who

Did you havo to adjust ro the business side oI the indGtry when you finally

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What type ol upbinging did you guys SGr W€?e husi ers we allnlggasthal us€d to hustle. Doin' whalever we had to do. Wete not condoning hustlin', bL.t it was olrr means of s'rrvaval. WE lool tm negative, ya know, with the money, and we tumed it inlo something positive. We t@k the money that we made and pLrt the "Executive C ass" f rst singl€ oui. Wegotatmck cailed"Don't Get Addicted To The Game" wh6r6wete t€llin' brcthas and s stas lhat we made monsy the only way 1tut we couidw€Ie not knocking you, bul we want you to realize that you can'l do it forever. You gotta make it posilive.

but

don't see ihem put a lot ot time back SG: N4osl of t wsdid ourselves. We had into where they come from. outside tracks don6 by Todd Ray and SGr What wete talkin' on is rellected ln this gly called LG. my community. Iherc s.e a bunch ot rapp€rs wno jusl get on ov€r any beat. Did you have a lot ol conlrol or did lhs labeltry and mak€ you sound or look a Ev€rything I do, l'm saying soEething, cerEin way? W6r€ you fre€ to express l'm not jusi trying lo bug and say any your lfioughts in any way you wanted old thinq. SG:Yeah, we had ircedom, after o'I iirsr single end ihree or lour lracks thal we did at a fi6nd's house on borrowed time. Onceth€ record abelbought us our own sluff so we could do our ow. thing, we pretly much did what we wanted. We were pretly happy with

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ls it impodam for rapprs to be Did you guys produce most ol the lnvolved inthe community?A lot ol album your$lf, or did you have outside groups talk righteousne$, you help?

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What changes do you 6xp6ct in ihe wo d, looking inlothotuture? SG:To be honest. lhave an overailoutlook on what I want to happon, but I deal with lhinqs on a day-to-day basis. I l€el like I got so much to worry about now. l don t rcalt concem my*ff abod tho luture. ljust do the best I can do and by the yer 2m0, l'll jLrst see what's

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That wasn t my siyle, man. lmean, berore I was an A&B pe6on at Oet Jam, I worked as a mossenger. I trsed to mass up a lot o, things. Everybody liked m6 as a pe@n but they would go @mplain to Buss€ll Simmons about how I would come in late sllthe lime. There would be limes when l'd lake ihree-hour lunches, I r€ally didn't cs€ about my iob. The only r6ason I kept it was so my mother wouldnl lhrow me

I was going to college at ihe same time, and I had no aspiration to be a real rapper. I always hymed and st lbl]t it djdn't seom realistic for me to become one at thetime. Bussellliked meso much that when peoplewould complain to him, he'd come up to meand bellke, "Yo, George, they want me to lire you.' He'd complain and l'd b€ like, "Net timslhey complain, iusi ,irc me.'And he'd be like, "Nah, I'm not qoinq to ire you-'

So waiL inslead o, firing you, he

you up to the A&B depatmsne

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Yeah, so lislen 1o howthis came about. When I wasa messenger, Bussgll would pul me into hisoffice afd h6'd be ike, "Yo, G€o€e, what do you ihink otihis?' l'd €ith€r be like, that shit s tat orlhat shit's weak. So whal he en&d up saying was. Geo€e isn'l a good messeng€r, he's not meanl to be delivedng rhings, his ear is to lhe music. So they pronoled me to thsA&B depadment. Peopl€ w6ro buggin oui. Then lstarted messing up in the PAB

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Hold up!What were people's reaciions to hearing that you'd golt€n fired from your A&R position, but now have landed a

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People was buggin' 'cause it was so weird. At the beginning, shitwasJalling h mylap in acrazylashior, and lwasn't really helping myown cause at all. BLtstll, four years have passed and my reord's only corning o'n now. Yo'r have to pay your dues. Therc's no esy way, altt\o'rgh at ftd I may seem so

You 6ver thought oI playlng ihe numbeis? 0aughs) Nah, man, nwer played lotlo or any o, lhat shit. So what did P6l6 Nice ihink ofyou getting flred and then landhg a record deal? Was he down with lt? Pele was like, don't sign that deal with Bussell, remember our agreernent. So in reality, Pete's my man and so was Russeil, and lwas llke a pawn in the middl€ ofalloflhis mess. Eventually, Peie took m€ away and put me down with Columbia. I was so loyal lo Def Jam and Russ€ll b€caus€ they did so much for me, but because of this problem, it got to the point where I was on hold for so long, I was frustrated and So lsts get into production now. You got lh6 geat l{uts

depadment. Allyou do in A&R is lislen to demo tapes allday, and w'ite them clown in a loq. A lot ol the lapes you lbten to are weak, so I ended up not listening to that many tapes and they kept piling up. Aroundlhls time lstarted working on my own music. Then one day, Failh Newman, who was the head ol A&R, caught me dubbing n'y c€ssette in her oflice. I lhought she was

You wsre sn€aking arcund her ofilce? Nah. I wasn'l snerking around in hor ollice. I was just uling her double cassetle player, copying someshitthat ldid. Uttle did I knowshe hadn't lefl for the day and shecane n the room.l was in the conference room watching ry and she ended up hea nq rny cassette- She then asked m€ il I would let Busell hear the c6selte. A1 llrst I said no because none of the songs were really finished, b'rl I eventually said to go ahead and et him hear it. Nexl day when I cadr€ in lor work, Buss€llw6 like, "Yo, I have sorne good news and some bad news. The bad news is, you're fnedl" At that po nt lthought the good news was that he was soins to qivo me $200 to break o!1. To tellyou the kuth,l wasn'l lhat up€6t abdn b€ing frcd. So I got up and was like, that's cool, then he said lo wait a minL,te, you didn't h€arihe qood news, youlesoinq to be makinq a record wllh us. At that mon|€nt I didn't even know how to take his respo@-

How clid you tak6 it? Fuss€llwas like, OKGeorgethis ls what wers going to do, firct ofallweregoing togiveyou moneyto go inloihestudio and a w€ekly salary that s morc lhan y@r salary now. But I had macle

On all yow rracks? Nah, nah, nah, they did some lracks. lalsogot Sam Sev€r, and Princo Pauland me and Pete Nic6 worked on some tEcks Did you chooss lhs producers you wanted lo wor* wtth? Why did you choose lhem? B€cause theyle my friends. I like to wolk with p€ople that know got skills a.dthat l'm coolwith.

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What kind of equipment do you uss? Do you use the SP-

1m?

It alldepends on what prcducerl'm using. Me personally, I like the SP-1200, butthafs because l'm fol so tech.ically skilled and il's a simple machine to !se. As lar as lh6 oiher prcducers go, Sam Sever us€s the MP@ and lhe Bet Nuts u* everything.

Akigh! now tellme about your album. What'3 the tiue?

George A he Projec6. Give me some imight on some of the oth€r lrscks on yo0r "Walk Uke A Ouck' is no indication as to how the rest ol the album sounds. My style is laid back but none of them are as laid back as "Walk Lik€ A Duck". Thal'sjust the way lhat I lelt about that tr&k. One thing that lcan guarete€ you abod the album is thst there s a lor of ditferent navor to it. I also iend to hit every tmck with a different style ol rapping.The whoie album baslcally has a

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36

RE3IfiH 9! ttlcl( Disoble Ponek IrU3ClE GRIF Shobbo Ronks HOW DOIS lt IEE] E eclrosel CIVE lr UP lURl{ lr 1OOSE En V@ue l(llOGK 1{' BOOIS wre.kx N Eflet IHDIG GOI ON Befiv Be 1El ilE sEl YoUn U DERWEAn club 69 ll'S A sHA E Kri! Kr6$

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LOVE

GET UF AB

ll5 l lORilER ,16

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Slr ,rlE lf,EI Jermoine Si€rcd SPlRltUiI HICH M@dswings

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Gobriel

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DOI{'I YOU WA}II ,ttE Silvestro COrllE RAlt{ Cof,l: SHI|E Cllbo.d

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t.lw

gEl&

whirney Houlro'

OIDI]aAIY IOVE

I ADOIE YOU

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fjg"IslI,+.ft $"p DO 't WAIK AWAY

Youns Block Teenogen

l,{f,#u'f,#tu-

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ilg ,s.Pn"I*u.ll xtcx ^aoodswinss 50 !l? rHf !9rrl: %uns B d[ redosels

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Clubs Ere Getting lt. Radio is Getting lt, Hre You Gettin It?

--I-rrl G[nTtH GE'r YotI" trtl EIZ,HEEE

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The fewer HtrT single frorn the alburn EIIERGIOUE lf This [oesn't Get You- Ilothin luilt,

!!!@x


FGUiew panel

I

this iaaue:

D.llrtlo!..ilof l.n errrrd Todd GI.!nnort!. J!trtForilt

T

Tirr toon, Pol.0!rr Lont

lob0rrl8hr!!Eplto

2

J![llton Tuml.rl. 2 ll!llllo3

Er.

Fating system:

Pttslf, mls8 IPI snl nf,ll [Pl t6, n a.t Ptd. Btuk Ntus: AaS (kbim) Pnd. VatuB: Wahet

III ITIEUTIIII3

lE lrh Ptd

wi@stu9)

wiohr enrry n rhe qpandino wrd &nmhalra@6, ADache ridianb de bur LP mioN be $ri 6 a lest rhe

Jiemcompdilionamonqhruan oJs dicblrs lhat oiy ihe nrcno slep{p,and mosl1060n s cnsh

ooooo .!i,drilulthluv llidrlr

d{r r.cordj r0lnittlnt

revrew polrcy: di, olti! r!.1. 'l .irl o, ,rol.trl0irr, rilrion. lrimllly !l

more :'euiewa: !, tltrt-ruvlifl. ronllDlo h.

and bum So we hk6 youno Puniabr delendanl. aio sh.bomApache ndan, lo nloli G dlns or Junoles and he mohramBeltucrowd, bur d il comes lo a 3ho*dowi w rh rhe [tes ol Ninimm. c.phron d Papa

EnE lo

Dave Btub{t Miks Davii V.r tures or Bealnik.stylld i@ record andyoudrhink. HBy rhis G lusl too coo lor thml Wd, 'Pasric D@ms isjlsttoocool loo, with ib suno a$6.att red ba$he, ts neck.wobb i0 oeai so os. ih inieclious y jafrmino dtum loops and long, low bell9.0Cs lls l- d lo itraqinD

tnh

Sonbry. oelhi or

&ypl rksiid

ll*rc d*

Tnnidad

lndia

w

Sa l sufrive, CaDlelon s &mshous vill clos up and N nlar.n w haklo 1ak€ a chan Dn nag! d6 vlh lrre slrcs ridlrn @r drop somr prak manve

Bmmb€r E &)s llEn t6ur prr efts wold lul oi somi son ol

Papa

panmr rnd !oo lobilyri6 sw lch n and our or Plniibi aid maybe even qh@r his way lo ! I male mu scalmoOolo*s I EoOa! is Oo n0

matbna slls.4dstk&rusla ol dem09r.0li6 ooooM.G.

'ft nrdrer

emE

a pile ol

si[ino

in a

rBhm Od

and

l@t,

inq smh a hip

tml!

10

(al'

minllB io

rh.lr0.lM md!

0n

sudio

"Sinore

,linded Peoor." ieturos a ltty

ol

F.

sample. bul blyoid lhal ls pusing last.paGd loia lhie. 'Try To find Th. Fhrlnn' Oos

lrcr

electm{na og synlh lo qurv. frin0 kevboard , h orbllal io ai old

slyeolite MmPk, onhous

fL(9). Thants

b he

doht

os

podlc

lion leam soJla seehs ro b-. lelling us lhat rhe's iot OolD0 away thal €asl V. Poo wlth

ol

danceable

quw

lwisl

a

llcks

on

"Colour Me Love and simole keyboard play lJndor The Tui0 Trce maks Solia's solnd somewhal d flereii lrcm your typiml pop reshman (or uofiun, inlhiscae) You wanna lel lunlq? o pobrom. Solia s oot "shle 0r Mind" and rhe al-

oi

most lrypnoric soldie. 8.y',

@mplimenh

ol

poducer

Tommy Muslo ouile a wsrcome surpnse tuom a llst- mprcssion s nserwho deserues lstn nolo

asecondlinre.ooooT.L

P.

bell

sly e sounds, a sphgh oi hoowa techno and on. evsillally liidno har.lryrhm and a had on! lt s.

o

z

I

<,

m

:

Ir

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P@d V iM:Epic tUS) Ceteany Iorasumos slory ll slans wirh a llloiled u@llsl who beoai by sinon0 back"up l0r ansts like Mi.haet gotton, Natatte co e, stev e Wond€i Hsbi6 Nri.o.k and JeF h.ine Slowad. trcm lhere. lhe rile

lumslolllalolasolodvawhoh6 a @ady hil tl ll@ lim6 in G{ mady,

luld

ln canada

.od ome in

lhis.bum, Padr'v@ls adju$ o€nec y lo r srylisrir Eng€ thal ges lrm fiag lo hd* to hi NFG. Tk barhds cwlhour You" the US. 0n

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'Aner Tne Lde Has Losl lls Shiie" d For A Lilelime')arc sery and so Gndd ftend" .nd A nt No Mounla i Hioh Eiouoh'arear.

r[

ready clLrb succssses, whik 'Piomses and 0o Ya (Feer rr)' aftsure lo lo ow ii ltu r loobl€0s, wilh a mir ol lhe tltk lnck lial s sure lo Oel m6svo ddio phy. oveEll, lhs solid oflding h enouoh lo.dapun Pnis ned into

fiedanctmuslcol.

CrccoJt

Pnf, Sun{@en. ,aiw: $ary /rK) You rtsl @r.lioi would most

ke

y lall a ono lhe lines ol a

suddei u.oeloenbrsomelomof vinual rual ly. but lhen you reai 4 !pon closer 0bs6rualion lhal yotr second readoo ro ro voos, va Llcia mates you l6ei tfio intera.ting wlh olher tlle loms. sun$.em l.iuo9hs m lhis r3'e[o sllol by allo*n! llE xslenF lo

lon fie bdmm lo lhc &nells n he winl ol m rrke llE beat

sund ldls Pen Y rilo place maki! ll dlllcull lo eri

eye. Each

.hoos one v br-Phen you lhink alEcksiinished.somehow,you re found want n0 more. Nerl smaslr, you ask? lsav Broken Eiolsh' and lusl !o Psycho !

I

i

lo,

u

f,mfltxttt tul

eax E|f,r

Pbd.l'dtiaos: qCA

Ptod. R.tnatl

"iart Fu@nn

sctnnpst Rq

D

(l

ltD lner.nl-

awailed dsbul I cai bo dlhd thal) a bum lrcm Ms Wash 6 rl' nally hde ls ho{ ll look a coup e ol lh ans, a covsr g d mode andmorclhanlomy6aElo

iliiy

oet lo

lhh poil, but iey shes

back now and lor ois am glad we atl know ltr€ Dow o, tE voie,

arld while mny @allsts hae cqEl abilily, ld lE@ lhr .ha@-

ne

tusl siiole, "carry 0n", alrady lopped .rlans, and lhe seond, GiW ll To You , is des le..

*

tinedlodothesame."Eun ound and Thinqs we Do lor Love aru inna yllkoabe.10u.0ftlhe,oor house lEcl6 wilh masslve polotr

ha

From hous6lunos shs.ou d do inhershep I0qubl sto.m ballads

someone Who Bllars n You'aod NowTh,lYourcGonE' Madia stos rhy slE's slill 1006 in a mdd fl&d wilh s6c0nd-mle

like

llr!

mf,d

t2IUIS n"

D.

(ls).cw1rfftncn

nln alli.k in swi wEe m LP (e lr1 lv€ norcdoeoi C0) For lho$ idl yel

aMrc,

CFM s

lohd sFz{laild

dane truls lamshdd os o$y {$ sanls!sd wors, furruh.tr

hrs

lck, b! rrx,

d m!risoLoed

quirarorkys our pi.l oi 1116! lkts 6 "arid s.!l', trir[ cFM ooii r,ih.l !d-

M

6mar

s

$lo diE nl Ch.orin

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drdds

i'ri

$M

in lhir

s

'!llor,aih3@r. $h.d pird biioho rl oa.t, !i

ooLHr! doilr

ro

u@ 0!! ero€d rdbr $rnd

Cord

'R .r(y" . wmrs thrr 6. ol Lrc rimi Lol,B0o Ti! Tap Dai.lio' toe . ick/s m !u0.. rhar iun Hicky ro c6b ca dway 0a$ii0 bad Ti, lrp. rapplkppi I p-lo6 11L

sallii

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hs

ba.kooun{flo$. Thdi6h! Mv &by" Sm $€ thm "Jo!, smos, 4d the snd or riar ,.rl'rim b6s te{it,rsrme.

hmri,!]u_rn. .!d

lr

ltt

IlIt

Ptod MC Shan: E slwatl (US) Th€dehurLPft mselmmrasl{r. nq n€wcoms snow s a wll'p.o. du.ed paclaqe.ompris i0 a 5p0c trum ol slytes, all wo 4xmuted li. cluded are m00a0 danmhall{tyl8 hts nfomer' and 'Lom y Mor dayMomlig Olher sLndouh iicLude oid l ve Seen Hud a lunky R&B lfict wilh. wickoil bassliE ard 6lchy chorus. A @uple ol dille@l mi$ m a 12'@urd n8yte mrlo a danBlub hil lo lollk u0 rhe

otE6. f,.utw chlld' ias

a

hader, lunky ed0! Snow displays iniluen.es lrom Juior B6id and Tsiorsaw EekA.irduse ro srevl. 3. 10 name a i6w. Th6 album doesn1 slirk ln on6 qroovo w(h w6 -prodmed ft,thms uioinO

lrom reqqae, daicehall.

lunk

dad.ebie pop and slow

lams

oon

l ly0edsl Snl)rwahh

ior him ard open yod arc

our

b fijs


IrXltIUm

tnu 0r! fir[hry !y llbtlro IEW

PI

By

GOINEGIE)

fonrry

aoy /US). Im smmels hzw ^lalihu ^hturc; pNod siice ilar{tny By ltlaturc &opped lliui nasive hil "oPP" and te qsostoi now k do the kids irori No! Jeey hav6 fie knek lo donrrcl hip hoo [ lhe lasttion tPy did b.l@? wel!,afl y t@ hip hopcoimiseur d@dy kiows that head Gpprr Ircach h$ lh6 skilh lo pay lhe bills brrwhals evidenr oi lh6r

sN

mw LP b lh6

prene

ol Vimie

Dd fldo. TlEn lor

doppino rhose

Wr

,I

l

slro

commenled on Ihe

tmoothodoul sound ol the[, tsl LP. nol lhh tme arouid-i/a, Slyk has

a vary

delinne run edge,

dNl

{hire l@ch hold bad( 'Daddy Wd A Strcd Com/' is a

nrsutfitrP

IrII ct

8Lrt.0lli(i. Ptud steea

ttet

6ee 1r5/ Looks Ire had ,apper Boa s. hrs lomd dowtr liar hdly esl dppin a ue bn Broad.ningrheir musica ab tesllslakd lo eale a kind ol musca crc$-connecton , Slerco MC s havr lound oul hal Dunino situs .flon lifrB arcund has soBe beielik

sM{

i

I pla n and trua on Sr@lch' and 'Sleo lt Up , t ools llke ltuy h.y haw somelhin' h4. Wdt a Giv

*nisthl? lnm h€d l0r'C.Bton". bul il you mnna b. blunr iun ljsled to lhe closnO lBck as Bob sl!re. Now lhh h lhe end'

LemmehdyousaY Yein, Yah,

Yeah YHh, hoE me

i6t 6(,)ir

ff tul

Ptud \hiatsi tsknd (us). 0o6 P6ilive K hau llE linoo lingo lo malc ashoro? Yes viln ai alhnm rhal hirs

a

$6 nght chodr

and lones. 0n the cD, 16 tmck d splay Pos ilve k3 6dqe ald humor 6 he bnnqs lo lioht nol jl6l daily riab

Fl

d Grcw, iD Broouyi" (a quasi lovo ba ad) and 'Ca oDp6E ualwh0rc16 abod a 1251h mib pasn0e6 seel( oui pifiy

sl.

boftts {nh [y lull inj6lir. P6' iliE Kth6

movss m to poll@

bn

Ail No Crlhe ,anddlllmnliales botwfl p mplio and proslilulior oi 'Nighlshill' and blryon

"MiiniD

Iie Moetu/

leaunnq

Gn d Daddy tU 0t mu6e, lhore ac rhe pao roci cuts srh ther ownlhgmes lke lGotAMai and

lmci dealino rith Omwing up uilhoula hlher liqme THch and lreddie fo* ,ip shit on Hol Pohro" tud nob{dy stcpr on derp

'one2The HMd'.All nall

m

rEds f*! "Hood cmer ri6r, "Writen 0i Ya Xinen and

*ills,

0!l Da Box' Nauqily 3y NailE aE det nite y baci ''Knock'sm

lh.dh

lnd Poitve ha ll*

doubl

fltBB

rrcltNo

IIII GOI!

[u8[ It?1

P.od v ds Ahablh (uslfia is onr vicious mu[!a ol h6rd@c ave hysleia This lotrrmck EP

od

kidks ttld a mule. "slrus over hy oamon w ld, h exircmely hadilhis a l@ ol in-

6..+undslik

flu.00 lom +3 B&ords. A Erl lrlslld ba$l ie comb ild willr an Enhshakinq percsson l6.k

il a

maks

hadcor6 masle0i6cs. by lJiko, is

ihn. omlmrnEll.cl

a ltoe g@ o, ha.dde

lechiH

eidic

conDinaton ol samples

lromltu moor landino wfi a Oul, tuistno 303 bassiio and headsmashino Dercusson, make Ll a tue mnlil aw lEd on lhe

WI If,UsI I1PI

Ptod. Bdtfr fuhht: Ekkt6 lus) as rhe clBil ol 'lllrh ll aroar" ("60d is qiear") loops thmuqh your vou'llwood{ il you ool lhe ighllapo Thei aslhe yrhm sowly aseods you reahe that 8@nd I'lubhi h4s cpld rslEd &e ladh mar sldEed wh.n Ghnd Puba splil in 91 Frcm lh6 succss ol I// For ora llro remarn0 Nubians toor the time to

lv*tre,

l[t 6

ansurc

a

$st4.t

ol

ch,lullillinq sold lhal beyod tho $indard qdmb ol smples and ldedooy. fioo 'Msi nq 0l ThB 5 %" va GNive lh! b6i.5% lheololy lhat has lu0lod th6e brclhrre dmoqfi e mon

oM

im6 "Bl&kslidlw

lli} larufi0nddtua

side, DJ fi€0elB s 'ns Atlomalh' is erlrem.lY hard bul a ltl e stftnqe lor my tasle, wilh too maiy pans Ital soud jusl slapped logetier

Ial

ur, 'Ihe Camilal" hy Anrloo ls ,hat I @uld ell ,iller At in atl howaer, thls EP is deinhly oi my Top l0lora medal workoul Pick il u0 r6AP 600O

Iin'93 wth a lt@d ol60. pers poudno ilo lhe madcl, $ and had ben$ show ils sU t al naking b s sothat thh LPdo*il

Ddm

gal b{d.d

IG,

ji l& Gh OOOOJ

rx

,

elprodBlrcm

dedn iol tamilar wih llre Nubbn rovB fre tu l*ve M, Alore' uses I iely timmrd re. menhof R&Bwirhrhe ym€skills llEl made tnem h. unde@rcund s a

ol

oh

choiE '96dy Bootlcloir" is a. olher Ihumpii disp ay, and 'Tuv

olin Jam" helos us to undffst nd Nobiai s as poor iol eous t6a.hec Sold qualily music to move va

,(

.\

I

thrrYx ll.Pl

wlHD MIM I1I] r.mt OI'E

M kn

Pnrl. oitx: luq. n looks like Del Jan has done prossntinq aoain, ths hip hop communi!, rrvilh yet anolhar lroup s(h the potenlial l0 BLow DA UPI Frm !i6l lislen, oie will drliiilely Oivelhis Oroup prcps on bolhlheprcducllon and

F-

ol things. t ,lso

yrlcal sidss

s.ems ihar rhee [ds don'r phy and are nol alEid io sp{ak , w{h such ouotes as '8act da luck up" and lm a bald head with a knile/Give me your money fi your lile'. 0h yml in cass you dtnt klN. lhDsr ouys aa aU bald ha&. 0n a hd lhe inoredienls to be oa8 ol'93's tusl. Be sfe to ch6.k oul "phar aid Al]

o

That, Bllih "Brkino

Da

Ass ltiqlas' and lliqoas Dick"

Ie{

far ,rom a wak LP, lhe Onyx h deiinitely on? oroup you doi't

fti.t

vario6;

SOK IUS) o!l].et

$anlhepoppyCov Gdmalcup special on "Move Th s" hrc are poss b y a iew de.enl se eclions lo choo$ ltum "Thal Me' muld ersaly p6si lor lhe enled tuie "i Need A IVan by

np{d

Pos rivs

K bulwrhoutrhesrrnd-

oul fra e vo6 . Go nO a ltile top hdw od lhs p@chnq ar iimes, Ya Kd x actualv mdM out on lhe simpe b&r ol come Bact llofre Somewhal ol a techno groove is aflempled on Liie' and shesermsro b. rcally tryirq had on "Let Th€ Housbe orop". bul

even Lonnie Gordotr s vo@ls couldni help this gnlriend Unlonunalely. it seems as lhouglr lhs lrouseb€al drcpped on her r@ and she! srll baslin'. 0w1,{w... Au t ask is. "witl tle realYa Xid K peas6 sland up?

h!

mu

lltl

Itrrr Ltollt

Gai;I

hd. A sconaim fib:udtrsdu

tuod. Wi@t' eCA US) Jlnig PdndiDh, Shawn Chrslopher, Gren Gulhrie coot E watkins

MY

lLdlE

,@ rrrl. tur rho$ or you trto s.pl oi rhis 3rl2 lh6 rrsl rme rcuid

iowl

your

N@, rhe

clraio

lo p ay drch-up.

ro p&l

rih

q4sri6 6, wa you &

3tun cfrnr

fte s20r ro !4!te irk ll.Iotal hoso g!m? Wih sxmixs Io.hoNe lrcm Md muiircm*E-Str€ h Pue, M1(, xmw hmi! aid Sl.llremsw.ir! lErd lo,r.t a hw hsrc eu*

.rd'@mlrdh*'rsmoMlM i

oiven

il0hl

l s iol lhal dery mx

s9

h

,lrrhat (B+ mord irsIh.h.r rhrt iherc r srr ol em a ii oit oexae. Prn, v S. didtrl srimo and ade e 6 q.l lnw a.h n, is IG, $mus assrd:rii lmoon 0Esrnq eery I m0 Whyam lte

r

Yo!alllllr!?We

M

li!

ll

! bacr

llrle s sby 0o

but

iolrrLi hoe oio ir! qonia i n.vhehE t! 16 bre 6aooos

G0l[ [.PI

Meila [,!oroan Vesta Ten citv Kyn Sinrs, tarry H6d, J@lyn

3IM.

06

ShaM nedd and lhe lisl

lial Donell Rush has done se$oi work lo[ Thh who $who lisl0, daie mu on ol tho peop e

sics

premiere voelisls .lErly

shows his

rrlrc

as a

sinqtr, hut

hmi]iar *in hh wo* lhrcu!h lh. ranl6li.'sympiony sinsh tsmixed by E.Smoow aid

[16r

[ilautuo Joshe), mi0hl aol find

Cm tud Gok eq! ltt eli'$ying. Iie lo-lacl LP slicls clos Io a s ly smoolh uplmpo R&B so!nd, b!l ft rclyvenlures beyond.

TGcks k. Love Has No Coloa d'Aunnitr ln Atrd oul do slind

lilkB elli ue pooe rcmixrF bur ths resr, wh e enjoyable, is

Irfl

c0ilscE{cE

tu.

Ja

& Heln MrBtt

Atht b

iUS), Wth a sound lhal binOs Ihom ,riohflul y c ose ro lhs Early vlbesotNew0rdororthe PelShoo Boys, lhis

(sdl

biid.wntstty winds

l@ l|l

rc.x]htlmatie

souid tlEt hsn oadler hns 6F )oyed so much. wrh lhe deparlur. 0l ouilarkeyboad ,ay* S&ve waddin$on. Belov0d Lcrd slnos

ilach tinds h@tt krmed up wilh hls rote, Sslrir, tua li[]e bil ol whal one would .all h bmalive hols8'vlh a pinch ol hip hop ln. Jon

3! 6lion rhrcwn in.oonl be dts. c0u6gnl didards by gMn0 up this malud sdfd lo0 som Thil

d

B8lowd trypnotlsm

cai be rouid

sst theeaid

in nod

To ThB nhlthm 0l Lov. and "Leilts Mu sic Taxe You", and

iio

ll*

ewiz.

'1000 YeaB F@m To&y" is surclYone b walch l0r llyou haw aconscien@,0vBthsrebidhath-

o e L

@


wItT

6

tT

t$

I b6ris

lurE

hntumbr

I d, I

lwMi

Soic-, rlEl

oltttl6 Pllmr (ParMuriu$)

lhvR

laksrr,omrie.rrur oio Drd, Relrro tktiad 0l line Ald Spa

)Arlt

Sad Cnrcllmiro) i5 rhr

hip hop

06}*qurc.

G

Eras.d c6r

s..lior us.n by fie tun Gse.d.rbum,

in

@n!. alt ode

tq, ad 6nhd

Dirir6

Lord

HrlWhorc'Irr0 LopESon0 are.le d@m bemu$ ol q! d bNy porcls on

Li$'

dM.lls

aid,orcors

psGusior unloduml.ry.

i, tcs rro EErsf, lllxardcr O'Neat (fa!r) L0vt

1

t

reksalodseid,bul Siamadii0',

Knowledosand Lidyblosmoolhoulth! i p rropllow i10 a Sriday !11!mo0n 6taL or mind, T.y i0 to OBI a l. 16 D.a! n NYC, whdr rhe P aie$ du.l is.bo!tas .6yasMkhalrJeks@wiflnin!33e$B rywhlE mi

I

a

Yo@o l{os @ rEs rD odoi@rry trcm 1971, ms ol lh! $n 0r LP whsre wery

yrry$ @ritliou

1n

dty

a oocraarry

fa[sH oul tlP] Eddie f,usr (soul J@llP)

7

PlcNGS

tfir

ns on il. a

ck

rh! olhd rh.e tu15 are

0nlhe0looeand lNo rrD sonus Bd mii $ads orl

io k aba & wLrhaiaryrluls$ o gnkrcd llr a lewqmnli9.sery wdds@minheirol BuryWh[e, onry souid 10

be

@ord AleEnd( hB

tsars,rhshani trun61orLonri.LblmSmirh&

lir€i iron ol0ita This6rh.b.sld * mt in yEc oie 6i ako pm

punp€d u0 by a h'p hop breat

uidnsrcurdl"Hunpry

p

D

e

IneCdnaE.h6) dBrrr{.riq.dryi6cmbift ido

srdM rr.nd.

a

or ren bdniare

ll:11

\u ths srlre0r.l

.[d

lorh!d(n

ahhhsrrrl!

0vB

3

MaPy PGaPcc as

ahsrs @.€d

I

(8rrat[Eruto

b€xd

no or0duedand

NI6III

(rmnc hbat)

Max

l

'1 Man'nsrrr!9e orcdded B{ide liar iolds

ttl

2

rEis€d Sl@lsou s nsk lrrm mcl lalhsl.s me D lum.€s Good t0vs ) lrr si€.ord iwonhyomarleiloi and$erion on yomodlviiy 4tu6roi wrha rtuabNe mnroied 5 ir! qu r. dr f,s w lh a c rca 36 N.k

Broum

We , lio sooi ro

b€

[tlGI]

,alho

ol

aiorhi

s

bek

wilh a rhorpa.k Teddy Riley, rhe mmk ol iicr s*ing, rips up a mir Jor fa6( B@n (es2) aid ci,B 9lok6 aho lays oB dmi {5 22) ntnq i ramE brr or Gmqe

ow0 'rs

Clinln

lm'noni.

El pure,

Anyvays.

IO GETCHI

rwf,Y

f,otly

rn

lrl

6 rh.

trr

tl(

io6!

DoO"- hod s[aka. ,e!r

i

n mrii@. blt lrry

ror you

Bur

rrE

??

dubhads

n.u. c0Nsctous

EI

aoMEmtnE f,Ett

ttPt

EIffH*,",HF.IIPTI DayAr

Ahr_ wh.i 6 doiis quire ws[. m,id Ytu Mills drops somr,r,s 44, Jam rr6e lra.ks: rlwnDoYouwrono rerrotrbul Prmpin iaclswn! low lhe HunAuiy esy. sltrin0lim adelnle md o rrl a lf How Much We C

r-

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E

t

!

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1

BEI'EIIIN

5

Uaneaaa Simon (l(orgo DamcruN) o'inl *p€d mrm rrcm Mss s'monaler senq rr esllrafteilh!s!sl. p!donamealTho Friq n6rxton asl AulNl.

@

b[li stlie

gae 0P ond.

tri.rry np

r iori

srhebNin6s Acomhiirioioro

t.lio ,0rcu$ rtu

on ind a 0os[

eorsxc

mEk omdld

by

d

E

rrsqe

"R.r.d x- stE

tim€ rc{wo.ks so

lsonr voE

.rTr*jn' tod an'll omr

ms 3mh

w rl

slow piano ba ad

'NweiGoomGwYou uo_ shoord br rh6 rensowb:rrd rcrede n*vy: Md r JGIwanm Low nq;iiarmedvih

-ack$

a


WEIITH

tflloct( IY B00Ts wl'ocls N' Eflrct (MCA)

4

a!ru

fr

Haw D\ "Somlhdy

sn4.lrm'DaE a

To

M." ryrlh

iI

ne oNmm6

pl6 a

i

Clalct

I

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ieldn lro,

lo0d, lhoulld ciotus on lop ol e

FI

J

mmiG flr ro irE

El

t*,$,?r,,* ff sll*llr,,-,

rrr€labN Ih s m6rros. Br.nd NewHMu6. $undiiq k&kN br.ried by be.ls se@@mr Lnprar@ mx

I

!

A.omEri! rwntu hiim,ih retmrds {M, ind osnnb somdin! b.tler tlfu ,i lMr pzsl 0fi0.1s. s@ @mie. ryri6 lloul D.rny

w6on

or rhe Sperbound

a'n &uni isl'rly aid

I tuta rI[ fl Etrl (MCI)

r

ti

dt

LOUI

tlPI

alom. mddil yDU a!@1Werr. Shrihaveh rrined u, ba adstom

holl Lols

dFckswinoiamsJrom,.

lmt.

dr

ro

wr

.hmll"Fhu'

they'rc

s a

Essa

hoo

h6vy b*s It lrrrr h{ "rr r Eva farl

giir&L 'W.iino

For

a.omputr

r,4nn qilh a rcBl.egqo

f

afltE!f,rrc

dD{im

i0 tlrh s onsff vod srrs rhal made nm one rh. tus ov€d oJsolrhE 30s. He hnoss lrE u! n. Brioann! m€ ody owj rh€ oq ro rhylhm dons.omolrerslvre wnh rho.msious neb]vrcs w Eper as trre sbidiid xom fir ons'nd r4.h.r

Il* in! n.ino a 0rHa ! Donl BdrJ6 d'

cHlr'fifs [l,l Glfltl.lodrcr wllllrm (uptown)

I

l.

.eminJ,

ad'aerriniq il

{irr droo 0i

a

Yo! Do" it €sy

irx

12'rer1. Twat him

$xy voah

and a

ol lhE

moe mixed.dowi @tsion ol lho

11

S

hsr./??

and

tr& Pm\ 6im

1

slinFl an

BUTIBIIY Tolly Gurts & Jltsy

dr.

ACTION

llvtNc lN rHts wonu

Sns., &10, bmNtr rc ???He'sbr.kurhd: tre hlhds € lr s lh n0. om @n sry he lras ,! y pa.ledhB9hm 0n'G00d Lr0i'ieiook !pwlh Mary J 3 0€l0dprudoid "lrhar h Th. Low siackswm. 1dt G.l Bighr i5 ux-is[ sour {ith . Fhnin hip ho, sh

YOU

Pam Hdl

Ttulysull!

Tte 0.y" s

omrbrealsmlh.roa

7

d

IBI

BDY

0r

hrni.!. Nou mi[d viti a be and li L@' swrlB. rt '8.ir ln Yods" ir. rBv slflh.k

*lsre@

I."[I ME

1

rlm.'*:n,*m;;m.*l i

s0,w or de $e

Hmvd

CAN'T TAIG ANOIHIn OIY

Ilcnni3 Brown (0b!.rv6F/Jt)

fl

IIE

ru Sanciez c.dEt'

!

Ji)

So

(lrt

(f,oot htonmttomvJA)

$r$la SEre/mflcE

E

(m

Force Ote tlblwort (Waanen BPos.)

IthdolbreA.sdr i2"

s deri

letyshckcd

vlEE

Jamaha s b 0!esr daie c6?6 eme lhe Bo! I is dB. bsd by tie irdco4 oJ.ino or lDcomt o sl, J'osy d rhe sariE.irc an0'n{ or

,hq

loiy Cui6

Sista

s sl,'G ai upbdr ia.k svino Em rcady to srrake iumps 0irhrl p. fu@0m vlbo s afaqq. hiphop snd€d 0srrun.nh Irack danmii rorh6 mr! r @s sups cars rools ntlturc'vo6r$frde Hot od

ETIIIGSIA

8e[

dum4

lor

rfte hdii!

Biv ltevoe

rMtm

ts

oo@s'oFbas

slhc DJ-ng suc lo her

rnd

HEAII

rhis ar

1

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ltttls

Waym Wolder

5

g

Ihe

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moe ild@liotu re.09i llon

MA.IU]IY Eanl

l8 (tu'rurusruI)

(MEt)

*M ?? Yo! d (id ti.l Biv, re6s lroduiN olh.6,

!

would haw swd rome ol da cE lor hin $ t For rhe Erloid.d. Rem x aid Suil6 lhre€ rhumbs lrgur lim

dotrMksh

oielhumbu9hrir@LLycominsoltrLth someminq and aDoEr tor r0.hn0 0@d on rlE

r2'l]M gdrhonqhr$id

eid.

n

sil0d illr

ohy, io

lysal

atI

led

t f,. rutoltuE mrdcr.(ImrJl) Jal+y & odrllL

HOW

f,nowr

Dai@ia

dy

Lov.,l

osrahofl adoubea-aids12.on

rm

s lro ssr DJ

fi$

sg

PlodlmdbyDJEddtFdsligbykd!oo|

ny"G

on

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ids

rlr€

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hh odwlly vmrs9ts qrssrio'*q rh. sLr. ol lie rod.y Its h6 he. od ror a snik hul lllrr krcirs m te sound slsrems blo

l0 m'o(lrE|oc)

LowTn q , Edd 6tlssBmod Nubhns S ow Dowi $np 6 as a brd lr&rr with a hcr( 5w ir-sh basr'ie oa si L shmmli ill ow Powri s,l Am.d wilh rhrce h Es yon€nr0ow,ong 0n tlE rllD "Ld M.3d ne 0m_ roop3 td 0G & 0a Surrdola'GoIi trrE [" rd , M t@t Th6 f, ldly merrdv mdt.flpo Fm surpe$s rh. A{ide ii pG ddion dmvod sk '€N€ dssrr r s0omarp !pdaio6thds

[I'II

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(P! no[i^rE)

t0ut lllattlc^ET tttt 8E lltt (I!f

srK

M[834 900

WSALD A

GBflII

wh

(t

UNIT

GaPnet Eilk

15

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3

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$!

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urs0rn6i.

iawdres

trfl

r'.

tust oie, "rouch' lsmlin'triri rh!r!Ei) Md ouerq!€ M nd6 (doilrook bacu. trcsklible

a'D

100

rleq lehio

al

7 6l

a

udd

aboul oie or lhr eigm mrnure

fi s isle

ir

emiids he

o,

xlc\ rfsl

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rhe we

similingoajo.t

d

0 t!I$, Ym( miDxlr PIIE ctlE

nel"

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apb$'aod

Depsep

TI.PI

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np, ol lmk oi

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tlre A sood

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ha bem

ouL

lor

i

wrr

e

Amsr€rd,mzidrorndrrp Dd.rr wr oo rzo k s rh€ d'q n: 50 ee@n. (ream tooe Y0lx NewYorr, NewYoc(.0m 0n..'

m

hadnllonm

Cmcldrouse mMX$l

i€mred by r m BonbTheB6t s marci trs ruw sinore bvrDcood

Boysrrcms rrmh.oaacoiriiulioi reefll vo.k brtrheror|h0r Slmsonsivarh4oremixsarenm ot rhei.

irr

'

6!

MINDS OF THEIR "With plenty ofthe rigfit beah and melodic hoohs,

lnternix\

appealgoes beyond the dance floor"

"\{ill

OWN

deal in alrsolutes...

Their ultimate aim is total

, OPTION

aural desecration" , MELODY MAI(ER

INTERMIX

WILL

PHAZE TWO

WORD.ILnSH.STOND

\(/ILL e,

aj

o

.xhtits

t

r&ddlsqealIh€ldrmt, .0$.',is .archy but dont

yc.E ol

Happy Mondays sly e c!{s are lhe 1il e rm.( 'Evorylrliio'

ml( dus sooken vord by w I Suro!018. lhe hns win ioE it

ir sound! rire an otd

GMIECIE

dqcib. sonqr

10

Arierlho rlcr sinql! "Coirecled',

JlEr ollt m( truxl Jun

lreav

Ift.I

*how5, .hnc., art

Mdrad seE, cloed ll. rhoE oI Jan.'10/03, d4 ro b.nkfulrcy. t. mN Dand.

I

punt iew kw m.ord, e.d ol the 7G SomotmB ir souids rire the ilsic ot fte 'S0s, a kind oJ dki/ whire luik ro.k. m

s0flrl]fr6

Cto3EA

r

ib bsr.

THEEAPY?

un&tr.Pl rt.'ryr osD Somefnm

n

panicularly -Plm.l F.rf by st!.daie 19731 My othd o "rtuor Kirtet ,Space Clbe and'Met mmoh"

lrre

comrairy ohy ru

Keoyo owsaiil&6ooen...

8tmu8 EEtrs Yfr- I t[ot rrlho.(ntc B.thrl

The sublire ol rhis @mlihtion is'8admrc And Tiaie'. And lh@ rBrd.ore soios ee really sood,

n

Mosr or llre inro h afllrhnl b4l uo!rc$6 unlll t Erk in ai oloaikedchaos iowi lhe songsblr Im

aid

Prcdmd by he band aid tee Pooa aii iver 0oe {sriniy Puppy), lh€ soo on llre c0 is lhe 0lhd sde' . iidusltar ousic, suila. aid noh6. A un* is sur pomd 10 be rc easd o[, ol ll]e* &ys.

SltlactGlt tI tl,, Y-ar. G.rs lE. i/l* *r,la)

5

ICOI

,our.!t

Doube co 40lEok a l0l ol.lasics, bul l've also dhlowred a rreal nM a[6mal v. leh. m .malr hir by Ntrke, {a €d Nrm-. ch..k lie

rtf,ouG TllE nflrlo umoow IEt ldiorr22lmtu!

6rcrlcD 0iysixsoios, burmrT0n

ol lhe

by Ro I MosimrnFa b end or raoqamuflii, mela a0d bmio. oUFl B€st mir s lhe Video reEion.

\afiUE I

l0 IIflIlIS

,Edr 3ar)

n

lillelI l

SD edadotuby 0q,s lrom fi0nr 242 witrr odq Mr p rodu.rioi

Tltre hn€s

WOR D. FL ES

H'5

TO N

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I

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tPl

Aswe lnii!iai,

debnrdA&ff.irstPsrs{*the3,€dd

B

maNin!iio/!rmssm.deEd

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tollb

;,

a

Setado[ ($llb Pop]

stdoir@rir

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h,iirFum me

ar.

flft UNMOY SUrcDES OT YOUfl oE8 mAft Gfil-[f,Er tlPl lllcc 00rut (lltemaliue lenhcle$) s0. dpr,,,meai'ssAiimDm s li€dvho0l;s Mmwr you,

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TOSTIG

maio.su4fryh emdmeroheroiioa]

ddN.Ih.s!,ommrarrsdeimbh! me MrsrEArworN,do dm ni e jor, re.oi

Mon

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YOU

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1,n n6rer.respldjEd&brBm rr.

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UlluEslL lilX[lI0B rei (n6fle&Ill0 6 I [k tftd EPs

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ry h @r. difitrmr

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L anda Pase ,l.v.vo.\-rdrolr. r/0.\d. Vt.rt \Atvodi.r tn-.; aora'\r od\?0.1.'o6h'hyr d.o rotu Ttrr." \o1o'dd'wlo.e a r'rr.ops l- ,e v 0tr1' erdrdd 'ou.r'roetofl0t/redeod,oa.kolTa lrp'dLdppl vmoea,,u'A. 'p 1r0., ola pol ! toolo,ct .t.bouOod 10

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:widalRoxy(18lhSl & 1oth Ave.). Slue Pea has covered Gioqio iloand s (at easl)theduoh $cond {lollowinq lhe Age Al lhe fhkg) lat Ftnlon] lyl: the i Edeis Fronr Here To Elerniry" aid [arlel i Airanam h as rem ixed Baltlmoh's Ta oan Fabulo6 PoD Tarls are rcnl0n lailey and Boy" borhiorSBk. Jusrrhink,yearetaler, nandy Bdbal., who are aso known as youllonce I aoain be abe to hear'Tamn Ulorld 0l Wonder the manaqementcom- : Boy'barno oLrt olMerrvGo Round srores pany respors b erorlhesucessoi,among : in malsacrossllre coun1ry: Whoa ho

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tnecmry fiFst cut

BealThatBlch With A Bal"

has been rem xed. An-

ssercd oayers ri0h1? Anyway, I can'l rememberlhen name 0rthe abelatlhe monrenl, butyou' I havesomuch lun ask nO lorlhe rccord you'llorgive me PS:Takelhe soiq for ls camo vaue and scrao al lhe bu lslril lner noles aboul LA, ant violence mcial harmony, yak, yak, Bum! s kiler nrporl 'm Fush n' isto be nc uded on the nen Epc complalion enlited Ae You Ready Io Darca Fealured amono the 12 culs wil be u eleased mlrettracks by noralla ( Are You Ready To Fly"), Daniel Gahaf StuckhThe M ddre), Pais[0d ( AintNo Mounlain H qh Enouqh") lhe $haf,en ('Ls ") lhe [0r& Gnb

( iYouW l My Love ),andlaya('WshUOonAStar') aswe las a handlu oideepertrancdhouse numbers

FansoiDetroitlabelsshou d snatch u0lhe lalesllrom 430Wes he Never 0n SLnday6lnevny six trackEP very coo inslrumenlals and Slghl Beyond Slghls'Good Stufi , wh ch h dead on v ntaoe mer C vei/ B O Fun". Very good. Vsry accsss b e. Gven a rem r, a hit

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EUROBEAT

ltoT r00'92


elonar

(Doinectonv

The UK Dance Scene..,

Siclr with a had case oI couens?

Ir ! I I

he

U(has been o0-o hro.ro- o-eorlhosestdoFs

whaeyouc.'tqooown_ovou tocatreroroslop

wirori

leino anac.co uva laroe rumoer olboo e,ver

.or o'ininq soreent"rpr* "or: t now tne ing producerdiscoversa naffold A0R song and decidesthat t would bea really good idealo re-record said tune in a roodern versrons.

'90sstyh, .e.,houseitupabit. l,,lusic byFargstta, Bock YourBaby"by[WS, BakerStreet" by Undercoyer "Ride Like TheWind" by East Side Eeat-the tistseemsend ess.And it it's nol a cover vers 0n, it's a remake or remix otan o d pop tune bythe orginalarl SislerSled[e wilh "WeAre Famity"

st

o.HeavenlT,rvrlL "Tempraton" DoesdtlthlsneanrheL( dance scene has become stagnant? 0r is il just mainstream pop cashino in on lhe successoidance music? Ceddrnlv i_ ihesel mes olrer ession rereco.dr0r"panes are re uclantto spend money on deve oping newtahnl. Repackaginq old materalis a much saier way ol rakinq inihe cash. A remix can add new life and spa htoanoldtunethatt been co leclino dustdown ln thevaults HeavenlThadlherr

early '80s class c, 'Temptal 0n

BrcthfishnMlll|l

',

warped inio the '90s willr a

renrlxlhal httthelop 10.

Boh

a

eyol

Virgin Dance, Heaven l7 s label, explainswhylhiswasdonei ''There s notaqreatdeal oiexcelhntquall0music around, and new 0enerations deserve to hear s0mething they missed years ago.Heaven 17's'Temptation'isaqreatsono from a band who

l0rme providelhe link between pop and etectronic dance." [,{osl olthenew spate ofcovers use exactty the same lor mu arslarl otl with thevoca, add alew hi-hats and orOan slabs, then s am in with the beal and away you go,lormula.ized pop house, instanty recognizab e, sing-a-lofq stutf. Washyour old r Lssrc i" newimp oved tlolsp Vus ( and see t-p oiiter ence il makes, dullold rocksongs suddenly have a new tease

onlife. The ka rao ke craze that rece ntly invaded Eng and can be cited as a iar0e lactor in the popular ty 0f ihese otd iunes. Karaoke givesthe laqerloutsa breltasle oi pop stardom in

lhe.lold b.'s,anoanostdlAI re rinoer oi the congs oirhetr chidhood. Someollhese peop e dec ded to go slepiurtherand aclual y record their eiforts. ln fact, rnany of today's covers arc liitlebetterthanthekaraokeversionssun0 everynOhlinpubs

The qmup Undercovor,

abesl-se ing

backd by PWL, wentont0 re ease

coverversions, ike Baker Skeet" and ''Neva LelPpr ShpAway rn'hs lornrldrTeoiashon,arl nslantly recognizable and accessible. llndercover claim that lhe rpa\o_ lFpy sio_ed doin! coverswas'0 est.blsh _he_se ves ia bum ol

=

@

thepopworldwhieavodinglheprobhrn0lbreakngnew,unheard

maierialtoapicky record buylnq public.

JI-FI

llnforlunate y, lindercoverweren'tthe only 0neslo have the sanre dea KWS, EastSide Beal, nage-the llK has been inundaled wilh bands usin! covers as a sleppinO stone t0 inlo the pop scene.lndeed, this pheromenon seems to bea pecu liarly Brltish lrend. The nature oi the UK charls means that t s much easierfora novelly-lype record to be successful, and

mosl0Ithe coverversions, allhough posing arcviewed

as dance

in the DJ world as nove ties. Thesheer

@ @ H @

lacks,

qLranli! 0l

cover bands means thal their tactics w llno doubt backfire. Few of these aclsare taken seriousyandiewersti I manageto have

morethan one ortwo hils. Just how lonq lhis coverman awilllasi is anyone's guess. l's wo_h nol,no. howeve|ha_ihe JK hd: bepn rhroug rrs bplo'p. Aies yea,s aq0. therp was a sim ar covpr,r raletn volvin! 0ld souland pop classics llke LovingYou"and"Think ing 0lYou", rernade wilh SoulllSod backing rhy,lhms Like everytrendinBrtislrdancemusic therewasnoslrorlaoe0f acts rcadyi0jump on lhe bandwaqon and beiore long, the claze I zzled oul as the llK market became saturated.

Stil thecuffentdeluge ofcovers shows no signs oiabat, ing.The marraqe 0l calchyand lam iaro d rockhilswiththe endurngly popu ar 4/4 house rhythm seems to have captured a larqeaudience way beyond lhe c0nlinesofthe dancelloors Iromwhence it originated. Everyone,irom k dsto housewives, s buyingthese s0 called ' dance ' records, lhou0h many have nevereven been neara n ghtclub. Thed stincl0n belween pop and dance hd. bpcome oll'reo a-d wlh cucn a ra.oe teservoi, 0lma_er almdrdwl'0n. he'e'sdvastsupp,/of suc-cove versions. Strong demand would seemlo bethere as well ior Cheap dancecovers lrave bec0me a iact oi lile but itshould nol be concluded tlratthe UK dance scene istheretore stagnant and u n h ealthy. Il,,lost oi th ese cove.s aclsare nothin0 more than pop oloups borrow ng a house beal,And in anycase,there are plenty ol cases where Eritish dance

Streetsound UK

sWrten

lor Slreetsound

MaOazine

d

slribuion and subscrip-

acts have shown lhat cover versions

needn'tallbeiormu arized and pre-

t

!

diclable. Wilnesslhe lnnoval ve inlerprelation by Sumcreem o, Broken English", "As Always" by SecdLifeand "The Love lLosl by West End. Coverversions may sometimes be painfulto listento,

butthe llK dance scene isallve and kickinq il you knowwhereto look.

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ONIY FOR THE HEADSTRONG I & I! 'Ih lfihxrr for Co4rlotior'

COffiNG SOON: EAST 17

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Profile for Christopher Torella

Streetsound Magazine Issue #63  

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