Album Review: Diggin In Outer Space by KISTA

 

Diggin’ in Outer Space

By

KISTA

 

Diggin In Outer Space marks the first time I have had KISTA on the blog, and not before time too. Kista is a self-confessed vinyl junkie, producer, and Graff writer. He is also the owner of Soundweight Records, on which this is released. The album is his latest release in a career that spans the last two decades and features many standout releases such as ‘Collecting Dust’ which he produced alongside US emcee Glad2Mecha, and the highly acclaimed ‘Songs From The Sea’s Edge’.

His deeply rooted and traditional Graff style has seen him produce work for many of his own releases and Diggin In Outer Space is no exception. The cover, by KISTA himself (See above), features a number of different pieces that show his name and demonstrate his broad but classic style. The cover also has this cut and paste style to it and features Graff pieces that are interspaced with images of legendary NYC Graff writers, images of vinyl records, Hip Hop and other musical influences, plus just a hint of psychedelia too. This stunning imagery more than mirrors the what the promo material says about the album “From start to finish this album takes you on a timeless nostalgic trip of all this hip hop, record digging, graffiti, drum breaks, spoken word, 90’s mix tapes, and Skateboarding”.

Now, I have always been a lover of the cut n’ paste style mix and so I am truly looking forward to deep diving on this one. So, let’s not hang around one more second. It’s time to join me as we turn the clock back to the Mid-eighties and early 90’s for a journey into hip hop, dedicated to the one and only ‘The 45 King’, let’s go Diggin In Outer Space with KISTA…

 

We begin our journey, of two halves (or sides as it were), by lifting off from planet Earth, into the void of outer space with the Intro (Stereo Test). This is more than intro to the album, but also and intro to vinyl records, how to play them and a hint at crate digging too. It all comes courtesy of a vocal sample from yesteryear over banging drum break, with a dash of some electronic vibes to boot. Now that the needle is in the groove and we are suitably thrust into our seats for the ride it’s time to get the Correct Technique, and we do this by listening, intently to the drum break and all the various samples, as they come together to get our head nodding, and the head nod sound is something that is always critical as it transfers the energy from the music into your body. Especially so when you’re floating through the void of space. Now, something that was always a huge part of the early Hip Hop Electro sound was the fact that it had that futuristic computer sound, and that also expanded into the Graff scene too with futuristic styles, and it’s time to explore the Graff side of things on Computer Rock (Future Shock). Wicked infectious bass guitar and a dope beat, really gets ya adrenaline flowing, just like the kick of grabbing a bag of spray cans and markers and getting out onto the dark streets and into the subway tunnels to get your name up, in the freshest style. The sampled vocals from graff writers really takes you back to watching documentaries, like Style Wars, for the first time. You would get a huge kick from practicing your own tag, before heading out and getting up for the first time. Computer Rock Pt2 (The Essence) takes us deeper into something that is the essence of both a graff writer or an emcee, and that is the technique; each has to have their own individual style or styles of creating their craft, from the tags and bubble, or wild style pieces, to the wordplay and flows, you technique is everything and is up to the observer to see if they can follow. Keep It on mixes up organ notes, xylophone notes, and vocal samples over a wicked drum beat to give us a sound that almost has a laid-back edge to it but, still has that banging vibe that keeps you bouncing as our journey through the cosmos continues but, if you thought that the link to planet earth was lost, you are mistaken as Solstice brings that link to bear with a hypnotic sound that has these sampled vocals that seem to speak to your unconscious, reminding you that no matter how far you travel, you are always still close to nature and should always remain so. That idea of remaining close to nature, even when surfing the cosmos leads us into Mushroom Clouds where the beat is laced with hypnotic piano notes that allow us to drift off into a different type of cosmos, one where some, possibly, natural substances help us reach a cosmos of our own making. The organ notes and guitars on Take You Higher find us inhaling more of those substances to transcend that induced cosmos, before realising that sound and music also has the capability to takes up to other places, and that is where we end the first part of our journey into outer space.

 

One quick flip, and the needle is back in the groove, and our journey continues, with just that little pause. Now we get things back on track with the title track Diggin in Outer Space, which takes us back to NYC. Here we get the low down on how a vinyl record is produced before breaking into sampling, the MPC and more. This track is almost like a cut n paste mix in itself as KISTA mixes in a wealth of vocal samples with switching sound along the way as the focus of the vocal sample’s changes. It keeps you on your toes and shows the work that goes into creating that physical product you love to hold in your hand and then watch, mesmerized, as it spins on the turntable bringing the sound you love to hear. Crescent Moon takes us into a jazz infused sound with classic drum break with strings to give it a chilled air. Then there are the piano and horns that really bring in that jazz sound. Something that really came into hip hop music in the 90’s, bringing a sound that was rooted in hip hop but, had this jazzy vibe that you could chill to, showing that somethings just blended so well with that hip hop sound. Now, Walkman Blues opens with a little soundbite that I can associate with as I had my first introduction to Hip Hop by listening to a cassette of the latest tunes. Here the beat, organ notes, claps and vocal samples all come together to create this vibe that gets you reminiscing of the days you had a cassette Walkman, and then a CD Walkman. I remember making my own mix tapes or putting the latest albums on tape to listen to on my train journey to work. Later, I had the means to do the same with CD’s. This one really takes me back, and the blues comes in when you forgot to get back up batteries, or the tape massed up. Those were the days. Xylophone notes bring us into Moon Rocks, where those notes mix with organ notes over the beat to give you this upbeat sound that kind of lightens the mood somewhat. It keeps that jazz vibe going once more but, in more chilled way, and makes you think of bouncing around on the moon in low gravity, looking back at the earth, the same way you might look back at music that has gone before, how it has influenced you and how you might be able to use it in the future. On the subject of musical influences, the Chrome Face (Skit) brings in a short funk fuelled guitar sound, alongside a nice drum beat that switches your focus to the equipment needed to take all of those musical ideas, that are floating around in your mind, and getting them into a usable form, recorded and ready for use. Similarly, your idea might be to take a Stack of 45’s and produce a funky little mix out of them, and if that is your idea, then you might just come up with something like this little beauty. No more needed to say here just kick back and enjoy. The penultimate sound on our little journey right here is Endless Summer, and this one takes a pounding drum break and mixes in piano, horns and more to bring you a sound that puts you slap bang in the middle of NYC, in the heat of the summer. From the busy summer days to the rocking summer nights, this one takes you there, as a little aside from travelling icy depths f outer space. KISTA rounds things off here with the Space Cookie (Outro), a spaced out drum and key infused sound that reminds you this journey is took you out into the depths of the cosmos for a ride through the foundations of the Hip Hop sound and much more. Now you are left with a little decision to make. Do you come back to earth for more or do you stay floating, out there in deep space…

 

This has been some trip for sure, and it is not always easy to review a release such as this because you hear so many sound bites, samples, and more that you recognise that you question, do I list all these that I recognise? Now, if I was to do that, we’d be here forever. So, what is best to do is just give you the things that come to mind as I listen.

What this album did do was to take me back to those days of old, to a time when I first heard Hip Hop, properly, when I knew what it was. That old Cassette, that I still have, was my first introduction. Yes, I had heard Rappers Delight on vinyl but, I didn’t know what I was listening too, at the time and was only eight or nine years old. When I got to thirteen and was told that this is Hip Hop, things blew up. I loved those times, trying to make pause button mixes or listening to Double D and Steinski’s The Lesson series or taping DMC mixes from the John Peel Show on a Monday Night. Now I wasn’t a skateboarder, so I can’t comment on that but, I know it was a huge within some in Hip Hop so, it definitely has its part to play. Hip Hop wasn’t just music, it was Breakin’, it was Graff, and it was knowledge. I learnt so much from listening to Hip Hop and researching what heard in the lyrics.

So, not only does Diggin In Outer Space take you back to those early years, it encapsulates everything about that time. From buying records, tapes and CD’s, to trying to write Graff, trying to be a Breaker, and trying to Rap or be scratch a record (in the musical scenes). It brings all that alive once more, putting you in touch with those feelings and reminding you of what it was about Hip Hop that struck you, the oneness. You were part of a movement, a culture, something new that was growing, and still alive today, if you look in the right places.

KISTA proves, right here, and without the shadow of a doubt, that he is one of the premo Hip Hop producers out there that still embodies the roots of what Hip Hop is all about. Diggin In Outer Space takes you on a trip that is seamless from start to finish. It is a rollercoaster ride that is not just a great listen but, one that takes you to new or old places and elicits emotions and adrenaline shots with every beat. KISTA has this instinct that know exactly what beats, breaks and samples to use to convey the message he is putting across, and that message seems to be that this is Hip Hop music and this music can break down the walls and take you anywhere you want to go. So, turn up the volume and feel the love for the music, the culture, and your fellow brothers and sisters across the world.

For those of us who grew up in the 70’s, 80’s this one is a nostalgic trip that will take you back and have you grinning from ear to ear, and if you grew up in the 80’s and 90’s, it will have a similar effect. For those of you hearing this who grew up in noughties or after, this one is going to give you an insight into a time when playing with music and bringing fun and good times was the name of the game and I hope it ignites a new flame inside you to explore the music and bring that energy back, because we need that fun energy to back into music and inspire unity beyond borders.

This has to be high on my albums of the year as it is a stunning slice of Hip Hop that ticks all the boxes and proves, once and for all, that Hip Hop is in the house, and its alive and kicking.

Diggin In Outer Space was release back in August and the vinyl has now sold out. It is still available on digital though so, grab a copy.

My huge thanks to KISTA for allowing me to bring this one to you.

So, till next time,

Peace Out.

Steve

LINKS

Grab your digital copy here:

https://kista.bandcamp.com/album/diggin-in-outer-space

Soundweight Records Website:

https://soundweightrecords.bigcartel.com/

KISTA and Soundweight Records Socials:

https://www.facebook.com/neil.k.richardson.5

https://www.instagram.com/k.i.s.t.a/

https://www.facebook.com/SoundweightRecords

https://www.instagram.com/soundweightrecords/

https://www.youtube.com/@Soundweightrecords

VIDEOS

Computer Rock (Future Shock)

Solstice

Diggin In Outer Space

 

 

 

Album Review: Everything's Turning Up Dusty by Krash Slaughta

 

Everything’s Turning Up Dusty

By

Krash Slaughta

 

Something that came out of Hip Hop music that I always loved were two things, the Megamix and the Cut n Paste mix. In fact, they were pivotal for me in that they spawned the ‘Pause Button’ mixes that we all loved back in the 80’s. Regardless of how you did it the tape-to-tape mixing was fun, and I still have some of my efforts around somewhere. I would enjoy finding my favourite tracks and adding bits from recordings of TV programs such as The Comic Strip and would enjoy trying to make party megamix tapes and the like, it’s a wonder I never progressed into vinyl mixing at the time.

As we moved into the 90’s it was the mixtape that became bigger with DJ’s remixing tracks and Emcee’s rapping over classic instrumental tracks and then mixing it all together. I would often listen to all these alongside recordings of the DMC mix championships and be amazed at how DJs could do what they did.

Fast forward to the present day and what might happen if you were to merge the Cut n Paste mix with a mixtape vibe? Step forward Glasgow based Krash Slaughta, a true legend in the game, who has put together just that on Everything’s Turning Up Dusty. This double LP limited edition vinyl is an hour long and consists of four sides of Cut n Paste musical goodness alongside some banging remixes to boot. The album took four months to make, with each of the four mixes taking one month to produce.

So, join me as I do my best to put my enjoyment of this stunning release into words…

Side One bursts into your ears with that classic Cut n Paste sound, and you can’t help but, smile and nod your head as you listen along. Mixed into this are sound bites from Blade Runner, Graff writer interviews, Marijuana info film, funk breaks, electronic vibes and so much more. There is also a remix of Time’s Up by O.C. that gives it this Pink Floyd, prog rock kind vibe; following on from this is an upbeat remix of So Let The Fun Begin by Stetsasonic, which has this bass and piano vibe that is just so wicked. This brings side One to a close and it’s time to flip over.

Side Two kicks off with this banging horn heavy remix of On The Smooth Tip by Sweet Tee before breaking into more funky dopeness over which is a recording of part of a story from Masters of the Universe, just to add more of a grin to your face. Following this Krash brings in a pounding remix of Quality Control from Jurassic 5, which has some mind bending, nerve tingling electronic elements mixed in. The breaks and razor-sharp cuts keep coming as you vibe to every little element, including the Beat Street element; before we are treated to funky drum remix of Torture Chamber by Edan ft Percee P. Next, we get this almost two tone, ragga vibe for the remix of Made You Look (Remix) by Nas ft Jadakiss and Ludicris. As this side comes to an end Bruce Lee reminds us to be like water, a timely reminder as we now need to be fluid in changing the record to side 3…

Side Three begins to sonic vibes before things kick off in a funky way to get that head nodding once more. Time for some Ol’ Dirty Bastard with Krash Slaughta reinterpreting Shimmy Shimmy Ya!, to this horn heavy, uplifting infectious sound that gets your whole body moving. Next track getting the remix treatment is Melody by Nu Mark and Pomo ft MF DOOM, with a funky horn heavy sound keeping you bouncing along. More funky breaks and turntable trickery, jazz vibes, sonic sounds, samples and add breaks ensue before its time to flip to record one last time…

Side Four begins with a big orchestral intro before we break into a jazz horn remix of Definition of a King by Two Kings in a Cipher. Funk breaks and a comedic look at how to be a rapper then brings a grin. A funky jazz vibe heralds the remix of Movin’ On by Gang Starr which is sure to get you movin’ and groovin’, Then comes the voice of Phill Most Chill taking us to the Rebel Base with Krash Slaughta mixing it up once more. From the rebel base we move into some outer space vibes with Krash Slaughta making a visit to the space bank before moving into hyperspace with more funky interstellar breaks. Drums, funky keys, and guitar vibes are the main components of the last remix, which is I Gotta Good Thing by Superlover Cee and Casanova Rud before we finally have round off this epic album.

Everything I have said above really just scratches the surface of what Everything’s Turning Up Dusty is. When you consider that Krash Slaughta has always wanted to make a cut n paste mix, and then he comes up with something that truly takes that genre of music to a whole new level. When you consider the likes of Coldcut’s Say Kids and Beats and Pieces or Double Dee and Steinski’s The Lesson series, Everything’s Turning Up Dusty emulates everything those classic releases did in taking elements of classic tracks, sound bites, infomercials, interviews and more, mixing and mashing them all together to produce something that was a whole new element of Hip Hop music. There is nothing you can’t do with the cut n paste mix and Krash Slaughta really does display that with aplomb.

To be perfectly honest, it is very hard to review something like this and really do it justice with my words because there are just too many elements to break down but, what I can do is to say with all my heart that this truly is one of the most amazing displays of the cut n paste genre that I have heard and when you consider the work that Krash Slaughta has put into this, it truly deserves to be placed up there with the best of them; it also shows the talent he has in crafting such a release, this is homage to the cut n paste mix but, also an incredible stand-alone audible spectacle.

My best advice would be for you to listen, listen and listen again to this because Everything’s Turning Up Dusty is never gonna get old, in fact, this is one set of vinyl’s I can never see collecting dust and turning up Dusty.

I take my hat off to Krash Slaghta on this one and also give him my humble thanks for the chance to drop a few words about this stunning release.

On that note,

I’m outta here,

Steve.

LINKS

Get your copy from Krash Slaughta Bigcartel:

https://krashslaughta.bigcartel.com/product/everything-s-turning-up-dusty

Get a copy from Bandcamp:

https://krashslaughta.bandcamp.com/album/everythings-turning-up-dusty

Krash Slaughta Socials:

https://www.facebook.com/krashslaughta/

https://www.instagram.com/paulkrashslaughtasmith

https://www.mixcloud.com/krashslaughta/

 

 

 

 

 

 

Album Review: B-Boys Break by Long Lastin'

 

B-Boys Break

By

Long Lastin’

 

If you’re like me and you grew up in the early days of Hip-Hop in the UK, you probably became fascinated by Breakin’ which is the athletic street dance that is one of the true elements of the Hip-Hop culture. Breakin’ is as popular today as it’s always been even though you don’t see as much on the streets as you once might have done.

Breakin’ grew out of the early Hip-Hop block parties where the likes of Kool Herc would just play the break of a song and those who moved to really dance to this became known as Break Boys and Break Girls which was shortened to B-Boys and B-Girls. As Hip Hop became the focus of media attention, they quickly coined the term Breakdancing to describe what they were seeing. The term took hold and the breakdance phenomena was born, with it quickly switching from music videos, like Buffalo Gals, to the big screen in movies like Beat Street and the Breakdance series. But, for many within Hip-Hop it only is, was and ever could be one thing and that’s Breakin’.

The style of music associated with Breakin’ was always high octane that fueled your energy and got you pumped up and ready to throw down. As I said it was that original style of playing the instrumental break, backward and forward between two turntables that started it all but, soon tracks were being put out inspired by or created simply for Breakin’ with tracks like: Break Dancin’-Electric Boogie by West Street Mob, Breaker’s Revenge by Arthur Baker and Breakin…There’s No Stopping Us by Ollie and Jerry. More recently the likes of Zeb Roc Ski and Def Cut have produced some classic tracks including On The Run by Zeb Roc Ski featuring legendary UK Emcee Blade.

So, if you are looking for that authentic Breakin’ sound, is there any better way to get it that by an album produced by a straight up B-Boy who oozes Breakin’ and Hip-Hop from every pore. Well, that’s what you are about to hear as B-Boys Break comes from UK Producer and Breaker Long Lastin’.

I’m not gonna leave you waitin’ a moment longer, are you ready…?

Straight outta the gate this one is high energy and hits you with Rock Steady, something every Breaker had to be, and the vibe instantly took me back to the mid eighties and watching crews like the Rock Steady Crew, New York City Breakers and later the UK’s Second To None. There are so many elements here from drums, claps, and cow bells to Freddie Keys on the Hammond organ. I dare you to try and sit still. Like all Hip-Hop music the inspirations behind what makes a great track to Break to are many and diverse. The inspiration behind Man I Am Ready is the JB’s and that funky vibe and the dance that went along with it back in the late 60’s and early 70’s really shines as what would serve as the building blocks of Hip-Hop and Breakin’. There is just that instant feeling of wanting to get up and then get down. Just enjoying yourself and letting the music take control. Breakers are often part of a crew, even if they break individually and to see who the best is, you had to battle, and Ladies & Gentleman puts you right into that experience. There is a slightly harder edge to the beat, as you would expect, to get the crowd and the Breakers fired up. Battles would see the breakers pull out all their moves from Top Rock to Foot Work, Down Rock to Power Moves, The Freeze and so much more…

Taking you back to the early days of breakin’ is Break It Down, the double bass heavy beat is mixed with horns, guitar vibes and cuts that take you back to those early days and the foundation of breakin’, you can close you eyes and drift away to this one as the beat controls your body. More bass, more drums and more cuts drag you to the dance floor where there is no excuse not to Get Down. On the dance floor it’s all about the moves, the footwork, the flares, windmills and the head spins. It’s about getting out there being the best you can be and expressing it through you own style. Time step up for the title track of the album where B-Boys Break has that heavy beat, claps, electronic notes and cuts galore. For me it really took me to the essence of breakin’ and dancing the break and truly being moved by the music and turning that into its own true artform.

The true enjoyment for anyone is in honing you craft and for the breaker that is practicing those moves, developing new variations, and then taking it to the dance floor or that piece of lino on the street and being able to Buss It for all to see and the bass driven beat just fits that buss-a-move vibe perfectly. UK B-Boy legend, Dolby D, introduces the next track and his words ring so true as the drums, bongos and guitar hit. When you step up to battle, you need to practice but, even more than that its all about how you conduct yourself and the confidence you have in your capability to Battle Anybody and serve the competition. As we step into Yea‘Y’all with some funky guitar and piano driven vibes, it’s all about your individual character. As Hip-Hop has elements, so does the breaker and its that which sets them apart from other members of the crew. It’s all about you and type of moves and style that make up you and your place in the crew.

It’s on the floor where the breaker is most at home. It could be lino laid out on the street, the club dancefloor or the floor of a huge stadium but, when the those pounding drums, cuts and electronic notes hit and you Get On The Floor, the music fuels your mind body and soul and nothing else matters. Time it’s now to Listen to the cuts, claps, and synth of this electro driven vibe. This one really put me in mind of the way breakers can rock that body poppin’ and robotic style movement, perfectly replicating and merging those smooth or jerky movements just like their body is controlled by motors with a specific purpose. Moving into the final track of the album, we are asked How Could You Spot A B-Boy? The musical backdrop is again on that electro vibe with bells and synth vibes. It really reminded me of the days when you knew who the B-Boys were, dressed in tracksuits, often matching ones, and rocking trainers such as Adidas Gazelle or Puma Suede with fat laces. Sometimes they would have their caps on backward or sideways while others rocked ski goggles or even white gloves but, always one would be carrying a large boombox with the volume up. I mean, yeah, that’s where it takes me but, truly would you know a B-Boy or B-Girl if they were stood next to you?

 

 I have to say that this was 12 tracks and 45mins of pure breakin’ gold. I have had this in the car, on headphones and just booming out the speakers and this is just perfect anywhere for any Hip-Hop lover but, for breakers, this has got to answer their prayers cos if you had this in your box, it’s gonna have you dancing to the beat as long as you want…

I mean, the sound, the cuts and the classic samples are not only a B-Boys wet dream but, they have an element of that Cut n Paste vibe too that will have the Hip-Hop lovers out there rockin’ their bodies till the cows come home. Being more instrumental this album does not have a particular message to each track because they are built for the breakers to dance to. But the lack of a spoken message is replaced by a purely musical one. Each speaks to you differently or maybe the same? The breaker will hear and feel the vibe of the music and know how to use each move to its best advantage as the vibes fuel their adrenaline. For those who are not B-Boys or B-Girls the musical vibe still talks to you eliciting memories of movies or seeing some breakers at a club, on the street or large event, it may even speak to you in other ways. What it does for all of us collectively is to bring a huge wave of positive emotional responses not just in your mind but, also in your body as you just wanna get up and move, I do advise you don’t do that in the car though…

For me it reminded me of the 1987 Def Jam Tour I went to in Brighton. On the bill was Public Enemy, Eric B and Rakim and LL Cool J and during that night there was a moment when a section of the floor cleared, and the breakers stunned the crowd with their display. It also reminded me of how this was also a non-violent way in which disputes were settled, simply by dancing, something both sides could appreciate in a positive manner.

The reason this album works so well is due to the fact that Long Lastin’ is a B-Boy himself. He knows and feels the music and so is able to put that into creating a vibe that perfectly encapsulates the feelings and energy of that sound that is so instantly recognisable as the Breakin’ sound and it is that perfect sound that has already given B-Boys Break some huge positive feedback from some huge figures here in the UK. What more could you ask for, when you have put your heat and soul into crafting something that so perfectly mirrors that vibe, than to have those you respect for their own standing in the Hip-Hop/Breakin’ world to give such feedback, it must certainly allow you know have done what you started out to do, if nothing else.

I’d like to give a quick mention to the live instruments on this album, something I feel always adds depth and feeling and props goes out to on the Hammond Organ FREDDY KEYS and on Bass & Guitar BOBBY BLUES.

The last thing to say is that the album is polished off in style by the awesome cover art by Bristol graff artists TURROE and SHADE ONE who have produced what could be one of the dopest covers ever…

I’d like to see this style of Hip-Hop music given far more exposure than it currently is and B-Boys Break, being such an honest expression of a deep-rooted love of the breakin’ scene takes one more step to that happening. Long Lastin’ is a supremely talented producer and so I humbly suggest that if you have not heard this yet, you do so now and let your body rock…

B-Boys Break is out now, and I’d like to give some huge props to Long Lastin’ for sending this over to me.

I’m knackered from all that,

See Ya,

Steve

LINKS

Get you copy of B-Boys Break Here:

https://longlastin.bandcamp.com/album/b-boys-break

Single Review: Bricolage 1 - DJ Destruction & DJ Specifik

 

Bricolage 1

By

DJ Destruction & DJ Specifik

               

For those of us who grew up in the early years of Hip-Hop music, especially around the early to mid-eighties, there was an exciting sub-genre of the music that came to be known as the Cut n Paste mix.

Most of you will be aware of how the Hip-Hop music grew from Kool Herc mixing the break beat of two records from turntable to turntable and then we had such things as Remixes and the Megamix. But, in 1983 the duo of Double Dee & Steinski would enter a Tommy Boy contest to remix the track ‘Play That Beat Mr DJ by G.L.O.B.E & Whiz Kid. The track they submitted was Lesson 1- The Payoff Mix which would sample early Hip-Hop records, Funk and Disco but also included samples from such diverse sources as movies, tap-dancing instruction records and records by Little Richard and The Supremes. Double Dee & Steinski would win that contest and would go on to release Lesson 2- The James Brown Mix in 1984 and Lesson 3- The History of Hip Hop Mix in 1985. The Lessons would quickly gain legendary status and go on to inspire such acts as Coldcut and MARRS in the UK and many more around the world. In fact, Coldcut’s first white label release ‘Say Kids What Time Is It?’ from 1986 was another entirely sample driven track which was hailed as the UKs first breaks record.

Tracks like these were often produced using the Pause button edit, something that Coldcut did exclusively with ‘Say Kids’ and ‘Beats + Pieces’, where you would pause the tape record the section you wanted then pause again and what you were doing was essentially cutting on piece of a track and pasting it into a new mixed track, hence the monocle of the Cut n Paste mix. This became popular among teenagers, like myself, who spend hours on a dual tape deck with a pile of cassettes trying get our own mix just right. I probably still have some of mine lying around somewhere…

This idea of the Cut n Paste mix still lives in the heart of many of the old skool headz out there and has been kept alive by those such as DJ Yoda with his How To Cut and Paste series and the Unthugged albums with Dan Greenpeace, just to name a couple. DJ Specifik also did a Cut n Paste competition through his Cold Krush radio show receiving some awesome submissions and being won by one Jabbathakut.

So, what DJ Destruction and DJ Specifik have done is to bring that vibe back for a new generation so, without further ado let me dive into these two tracks and if there is time afterward, I might include a few questions I asked both DJ’s…

  

The A side is Opus #1 (Test Of The Emergency Broadcast System) By DJ Destruction which takes you on a journey which almost redefines the idea of the cut n paste mix. An Opus, in musical terms, can be defined as a set of compositions and an artistic work, particularly one on a grand scale and here DJ Destruction takes a wealth of differing musical compositions and, through the medium of DJing, creates his first Opus. There is everything you would want here to get your body moving. You have you Hip-Hop, you funk, disco and soul and everything in between from the plethora of James Brown samples and other well know sounds from the likes of The Rimshots and Toney Lee to some more eclectic choices like Fun Boy Three and a collection of sounds, sound bites and even the appearance of Zippy from the UK children’s show Rainbow, which just goes to show there is nothing you can’t cut and paste with. This one really feels like a homage to Double Dee and Steinski and their Lessons style of mix. 

DJ Destruction

Flipping to the AA side we have Pause 191 (85 Prime Factory Reset) By DJ Specifik which packs more into a smidge over 4 minutes than most pack into an entire album. Specifik pulls no punches and hits you with break after break from the likes of Hall and Oates, Herbie Hancock, Mantronix, Art of Noise, Full Force, Digital Underground, Eric B and Rakim, Hasim and a whole lot more to boot. Add into that some scratching and a dash of sound bites and Specifik has you up on your feet bouncing around like a Mexican jumping bean on speed. The shear amount of what is packed into this mix is off the charts and took me back to the days of listening recordings of early DMC mixing championships on the John Peel show it takes you back in the days and pours molten liquid audible treat directly into your ears and before you know what’s happening it’s all over, now breath…

 

DJ Specifik

Overall, what can you really say about these two mixes?

For those of us who know this style of mix then it takes you back and really does give you a deep nostalgic feeling. Two different styles that bring the same warm injection of adrenaline on hearing all those great breaks from those tracks and instantly identifying them or, in some cases at least, trying to remember the source track (Damn old age). I mean, what a way to pack as much of your favourite sounds into just four or five minutes.

For anyone not familiar with this style of mix then this is about as perfect an introduction that you could want to this genre. Hearing these two tracks will make you want to go out and listen to the likes of Double Dee and Steinski, Coldcut, DJ Yoda etc and then hunt down the original tracks that those samples come from and that is the joy of this, if these is a track you are not familiar with, you can probably google it these days, it was a little harder for us back in the days you know…

I give huge respect to DJ Destruction and DJ Specifik for taking it back to the old days and creating two seamless Cut n Paste style mixes that really do keep that original Hip-Hop sound but for a new era and for bringing back great memories and emotions.

I understand that these days it is a little easier to create you own mixes with the advent of digital software but, that said I know there are still plenty of people out there keeping it analogue too. So, perhaps you might wanna hunt down an old double tape deck and a few tapes and have a go or alternatively there will be a program on your pc or even an App for that these days, why not give it a go…

You really won’t want to miss this release. This is also a brand-new collaboration with Wise Cut Records and will their first ever release. Released through Wise Cut Records, the pre-orders go live today, 14^th May, and I doubt these will be around long…

On that note,

There is just enough time for a short Q n A with DJ Destruction and DJ Specifik:

Guys, thank you for taking the time to answer a few quick (well I hope they are quick anyway) Questions.

1.     Can you remember the first time you heard a mix of this kind, which one it was and which artist?

Specifik: If the truth be known I can’t actually remember which one I heard first! Age is taking its toll but what I can say is very early mixes on the radio by people like Chad Jackson, chopped up bits in the mix on the street sounds records, Double dee and Steinski, Coldcut all played a part. Now I think about it was probably more about producing a mix of records that just happened to be at a rapid pace rather than creating a patchwork. We were basically using tape players and pause buttons to re-create what was spliced. So maybe you have to credit the New York radio and club djs who did this first, It was natural progression.

Destruction: The first two Hip Hop albums I purchased were Grandmaster Flash & The Furious Five’s Greatest Messages and Tommy Boy’s Greatest Beats. Both LP’s contained amazing cut ups that blew my 12 year old mind ’GMF’s Adventures on the Wheels Of Steel’ & 3-D’s ‘Tommy Boy Megamix’. Roughly around the same time (84/85) I was religiously listening to Mike Allen on Capital Radio every Friday and Saturday night, he would regularly play Double Dee & Steinski’s Lessons and various other mixes like ‘Fusion Beats’. The Third Lesson (History Of Hip Hop) really fascinated me and I started to try and replicate that by creating my own pause button mixes. Little did i know that in 87 Mike Allen would play one of my early megamix’s on his Sunday afternoon ’Street talk’ show. I still have a recording of it.

 

2.     Going one step on from that and thinking of your inspirations, DJ Specifik you note Michael Provis as an inspiration for your mix could you explain why that is and if you have any other inspirations for the mix.

Specifik: Yeah, big up my old mate Michael Provis who defiantly played a big part in me being interested in making pause mixes. He was a bit older than me and his brother a bit older again, so we had access to his brothers records although he probably didn’t know. Anyway, apart from breaking and graffiti we were also into having mix battles. We only did this a couple of times, but it was something I couldn’t get enough of. While I’m at it, happy birthday Mike !

DJ Destruction do you have any particular inspirations for your mix you could tell us about? Destruction: During lockdown I had a lot of time on my hands so thought I’d go back to my roots by creating a series of live cut and paste video’s for my social media channels. These were basically a salute to the pioneers such as Flash, DST, Double Dee & Steinski and Coldcut etc who inspired me to start DJ’ing and producing music. One video in particular had a Lessons feel about it so I decided to cut a studio version together which then became Opus #1.

 

3.     What was the motivation behind putting this release together?

Specifik: I was introduced to Ross aka Destruction through a mutual friend who knew I would be interested in his cut and paste videos. What I saw blew my mind and I went on to champion Ross through my radio show and CKTV. Obviously, we both have a mutual love for cut and paste so the natural progression was to do a record and here we are.

 

4.     How do you both go about deciding what tracks, sound bites and so on you are going to put into something like a Cut N Paste mix?

Specifik: For me it’s similar to Djing but applying a producer’s head. Find loads of tracks you want to work with and try to make them work together. There is defiantly a certain amount of fluke in the process as well. All the soundbites are adding to fill voids and add to the experience but all with familiar references, I guess.

Destruction: My approach is very similar to Specifiks. When planning a mix, I try to visualise a musical journey with multiple colours and shades, It’s a bit like putting a musical jigsaw together.

 

5.     How did the collaboration with Wise Cut Records come about and are there any future releases of this kind planned at all?

Specifk: The two guys behind Wise Cut are probably two of the nicest people you would ever meet. If this one goes well, I assume we will be back for more . .

 

6.     Lastly, if you’re up for it that is, could you tell us what you each think of the others mix? Destruction: I was totally blown away with what Specifik created and even more by how fast it was made. I seem to remember him doing the whole thing in a couple of evenings plus a video version too. His mix is full of cool samples and soundbites which brings back so many nostalgic memories from the 80’s & 90’s.

Specifik: I only have one word that sums up Ross’s mix and its Genius. Everything is so well crafted and works as one track which is what it should do really. I love working with people that inspire me and push me to work harder. When the video’s drop you will see the same energy again but visually.

Thank you both again for this, very much appreciated.

So, there you have it everyone, a little look into the story behind this awesome release. There is one last thing for me to do, which id to send huge props to Specifik for sending this over to me.

I’m outta Here,

Peace…

Steve

LINKS

Get your copy via Wise Cut Records Bandcamp Here:

https://wisecutrecords.bandcamp.com/album/bricolage1

VIDEOS

Opus #1 (Test Of The Emergency Broadcast System) - Premieres on 15th May

Pause 191 (85 Prime Factory Reset) - Premieres on 15th May