Single Review: BOMBIN' by BRIM

 

Bombin’

By

BRIM

 

Bombin’ is the latest release from Unsettled Scores Records and comes hot on the heels of the debut Tracy Song.

Bombin’ was originally recorded back in 1985 and was the title track for the Dick Fontaine documentary of the same name which was originally aired on Channel 4 in the UK in 1988. Composed by David Toop and Performed by Brim (TATS CRU) and written by Brim and Bronx Style Bob (Rhyme Syndicate) the track was never officially released, that I am aware of.

The Documentary, which you can find on YouTube, focused primarily on the graffiti element of Hip Hop, although breakin’, Rap and Scratchin’ was all featured but, to a lesser extent. Alongside Brim, the documentary featured the likes of Bambaataa and UK artists such as 3-D (Massive Attack / The Wild Bunch) and Goldie (MBE), there are also excerpts from Style Wars as well. It followed some of Brim’s 1985 exploits in the UK from lecturing at Oxford to painting at public events and more. There was a lot of candid parts that focused on his interactions with people around the UK involved in graffiti and Hip Hop. It also looked at the political and racial aspects of life in the UK, with Wolverhampton and Birmingham featured, and how those struggles mirrored the struggles in New York. The documentary ended with Goldie visiting New York before ending back in the UK with the ultimate message that Graff Writers and Bombers, no matter where they come from, grew their artform from doing their best to create something positive from the tough and often impoverished inner city life.

Back to this release which brings the essence of those early days of Hip Hop back to us, and I can remember, as a 17-year-old, setting the video recorder to tape the programme and then eagerly watching it the following day. I am sure that the feeling I get from hearing this again, will be the same for many more of you out there that remember this Documentary and the music.

The 7 inch vinyl version features a Vocal Edit and Guitar Dub Mix Edit that has been edited by the labels creator DeeJay Skamrok and alongside that the digital release features the Full Length Vocal/Guitar Dub Mix, the Main Theme/Original Version and Bombin’ Beats. All of which have been remastered from cassette tape that was recently discovered in the collection of Bombin’ composer David Toop and is finally released here for the first time in its original form and features previously unheard mixes and verses from Brim.

I’ll kick things off with Bombin’ (Full Length Vocal – Guitar Dub Mix) where the bass and mix of electronic and scratch elements brings back that early electro/808 Hip Hop sound. There is also a rawness to the sound that very much echoes the vibe of the streets that graffiti grew from. Brim’s vocals have a slick flow and speak to you on the life of a graff writer, living for bombin’ the trains and dodging the law while seeking to bring some colour and brightness to the darkness of ghetto. Yo can feel the energy and the passion of Brim as he speaks on what it means to him being a writer, constantly practicing his art to be ready to get up on the next train or wall, in a constant battle with other writers to be bigger, bolder and fresher. The extended instrumental part of the track combines all the elements of what Hip Hop music was at the time and those guitar elements put you in mind of what Run DMC were doing too, with incorporating those rock riffs as part of the track. This is the version that was originally used in the Documentary.

Next up are the two tracks that have been edited by DeeJay Skamrok to form the 7-inch vinyl release. The Bombin’ (7” Vocal Edit) breaks the track down to size for the vinyl by losing the extended instrumental part of the full length version but keeping the essence of Brim’s vocals and that electro Hip Hop vibe, creating an edit for the A-Side that can easily rock both sides of the tracks. The B-Side Bombin’ (Dub Guitar Mix Edit) takes the instrumental elements of the full-length version and mixes them into the perfect instrumental version of the track. This edit is a solid soundtrack for the bombers and writers out there and you can feel the energy of being out, in the dead of night, getting your tags, throw ups and outlines done before moving onto the next piece, all the while looking over your shoulder for the cops…

The next mix here is the Bombin’ (Main Theme – Original Version) and, from the title, you might think this is the main version used for the documentary; however, only about 15 seconds of this version was ever used in the documentary, at around the 13:55 mark, just after the conversation with the old woman. This version is stripped back, losing the guitar elements and just keeping the bass, giving this an even more raw Hip Hop sound that will touch the hearts of anyone who was there back in the day, stirring up memories of the documentary or even their own early days of getting up or experimenting with tags and so on. For me, this is the version that stirred the most memories in me and my own days experimenting with tags and Graff, something I still do to this day.

Last but, not least is the Bombin’ (Beats) which brings you the basic beat that underpins all of the mixes and edits that have come before. There is something about that sampled hand clap from this and the Original Main Theme that just seems to scream early 80’s electro Hip Hop. I just get the feeling that this one is gonna be inspirational for producers out there right now, seeking to bring that old skool element back, perhaps Hip Hop needs to take it back before taking it forward?

 

If I’m honest, there is not much more you can say about this one except that this release is a crucial part of Hip Hop history that needed to be put out there and for DeeJay Skamrok / Unsettled Scores Records to be able to get this released is truly something special for the culture. In my opinion anyway.

Here we have two formats that true Hip Hop heads will love. The vinyl version encapsulates the sound and physical media that we all grew up with and anything that is resurrected or discovered languishing in obscurity, needs to have that vinyl format, even if just for nostalgia. The digital version allows us to have those expanded versions and mixes in a form where we can enjoy them but, that would need a vinyl album format to be made available in physical version. Now there’s a thought?

What is crucial about what Unsetted Scores Records is doing with this and its previous release, is giving new live to tracks that might otherwise have been lost to time and it is important to bring these back for the enjoyment of many more generations to come. Bombin’ being made available now is not just going to hype up us old skool heads but, will give the younger generations another slice of Hip Hop to enjoy and draw inspiration from.

Everything this release is took be back to that seventeen-year-old me, enjoying the music but, more than that I can now here Brim’s lyrics and every word of those lyrics, feeling the energy and just how much he put his personal experiences into every line so that we know exactly what it is to be a writer, bombin’ and owning the lines.

If anyone has any confusion regarding the naming of the tracks, this comes down to how they were originally named when received from David Toop. I’ll let DeeJay Skamrok explain: When David Toop sent me the tracks the original version was titled “Main Theme” and the one used in the film was simply titled “Dub Guitar Mix”, no mention of a vocal. Not wanting to mess with the original titles I just made slight changes but now I’m wishing I’d called the Main Theme something like “Original Demo”. So, I hope that helps clear things up a little for everyone.

I also have to shout out Exile who has done a wicked job recreating the logo from the documentary and bringing it back for the cover.

This is one to be celebrated as it shows the universal nature of Hip Hop, even then nearly 40 years ago, uniting people of all creeds and colours, across boundaries and oceans, just as it does now.

My humble thanks to DeeJay Skamrok for giving me the chance to reminisce and bring you my thoughts on this one and for his comments and information that helped no end in just polishing this one off.

Bombin’ is available now so grab those physicals before they sell out.

I’ll see ya next time,

Keep on Bombin’…

Steve.

LINKS

Grab you copy Here:

https://www.unsettledscoresrecords.com/

or here

https://unsettledscoresrecords.bandcamp.com/music

Unsettled Scores Records on Instagram:

https://www.instagram.com/unsettled_scores_records/

Brim on Instagram:

https://www.instagram.com/brim1tatscru/

Unsettled Scores Records YouTube Channel:

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

VIDEOS

Bombin' (Full Length Vocal - Guitar Dub Mix)

BOMBIN' Original Documentary 1988

Album Review: Beat Tripping by Happy Headz

 

Beat Tripping

By

Happy Headz

 

It’s always good to have something new and a little different to wrap my ears around and the new album Beat Tripping by Happy Headz certainly fits the bill there. Released on Nuke Fam Records, it is produced by someone you might be familiar with, one Haynesy. Beat Tripping is the follow up to the debut One Summer and I'll drop a link to that below too.

My previous experience reviewing Haynesy’s work such as DopeBeat Biz Vol. 1 (2019) and his work alongside JD, Freedom of Speech (2020) and Truth Be Told (2021), has taught me that whatever he puts his mind to becomes a musical experience of the highest quality, with beats that are infectious and down-right dope. So, my thoughts are that this will be no exception, even if I’m not sure what’s coming, I know it’s gonna be pure fire.

Haynesy describes the album as a mix of retro dance, piano house, Hip Hop, electro, and chilled beats all in one package. Now I always enjoy a good challenge and so the idea of such a mixed bag of sounds really piqued my interest and that interest was piqued even more when I noted appearances from Jabbathakut, JD Guerrilla, Ryan Sanders, Scorzayzee, DJ Blend, Micky Swags, Wordsmiff Flip and Eskar (Nuke Fam Records). With a line-up like this alongside Haynesy I was eager to get my headphones on…

So, I’m not gonna keep you hanging around here, so join me on a trip through Beat Tripping…

Proceedings are started right with Dead Weight (Piano Mix) a booming house tune which put me in mind of the Chicago house sound which was big back in the eighties. The infectious beats, bass and that piano sound really gets you moving while the guest vocalist hits you with this story that seems to say that no matter how much you want someone, sometimes their behaviour just makes them a dead weight in your life. After that pulse raising start to the album a more chilled piano vibe takes us into Grow up and when the beat drops on this one you realise that the idea there would be some retro dance vibes here was not understated. Kicking up the BPM a bit it keeps the pulse racing and makes you wanna just keep moving. There are more vocals that help to grow that seed in your mind that parts of you just don’t want to grow up. Guitar vibes and strings guide you into the next track before the beat drops in and keeps you from wanting to kick back. Although this is a bit more chilled it still has your head nodding with it’s infectious sound and the vocals which speak directly at you, inviting you to look at yourself and enjoy yourself because You Are Enough. So, let the music into your soul and the ride that is your life.

That dance sound keeps going with bass, drums, and synth vibes but, Keep Shining has this electronic edge that seems to penetrate the very core of your being. As you listen to the vocals and feel that beat, you become aware that your body has unconsciously started moving and there is no stopping now and you can’t understand how you’re not boogying the night away in the club but, then maybe you are as another big bass sound hits with Nails Done Long. This has a more modern vibe or seems to but, before you know it there are some scratch elements thrown in and you’re suddenly pulled in different directions to different eras, or maybe that was just me? But, while I’m wondering what era I’ve been transported to another huge bass sound kicks in with a female emcee dropping some vocals all about one thing, Cash Money. The electronic sounds on this on push the limits of your mind while that big bass sound seems to impact and modify the beat of your own heart, making it beat in time with the bass sound of the track and pushing energy to new levels.

As the album is thirteen tracks long, we have just reached the pivot point of the album with The Place (Cuttin’ & Scratchin’ Mix) which features none other than one of the UK’s leading Hip Hop turntable maestros, Jabbathakut. The intro suggests this might be another house sound but, when the beat drops on this one you realise this is an instrumental Hip Hop banger that has you smiling ear to ear. The pounding drums, keys and heavy bass sound begin to push your adrenaline levels to the max but, the addition of Jabba on the cuts and a plethora of classic samples really push those adrenaline levels beyond their max levels. My advice, bounce, jump around and nod you head to this one and enjoy these five and half minutes of dopeness. Not sure what’s to come after that one, the bass hits and the BPM takes over with another huge club banger in Incy Rides Again (Riga Mix). This one has a sound that is almost techno but, has elements of the industrial sound and even Hip Hop cuts But, there is little doubt that by the end of this one whatever comes next is just gonna carry you on a euphoric energy you won’t wanna come down from. That sound that carries you on, is the massive DnB sound of Search Inside, which features JD and Ryan Sanders. Now, honestly DnB has never been my sound but, this one hits hard with some intelligent and anti-establishment vibes that encourage you to look inside yourself for the truth about what is really going on around you and the world at large.

From the pounding sound of DnB we are next transported in the electronic vibes of the Hip Hop Electro sound with A Random Sofa At 8am (Retro Electro Mix). This one perfectly captures that electro sound and brings in some classic samples, cut and scratched to create a sound that many of us older heads will be vibing with as the electro sound was part of what introduced us to the Hip Hop sound, in fact I remember sitting on random bas seats, random train seats, and car seats listening to this kind of music forty years ago. The Hip Hop sound continues with Love ‘em All, which features Scorzayzee on the mic. Pounding Hip Hop beats and heavy on the horns and not forgetting the cut n scratch, this one is a head nod banger that see’s Scorzayzee celebrate Hip Hop music and the art of making it. With some crafty wordplay, slick delivery, and some great tongue-in-cheek moments, this has the energy to keep that smile stretching broadly across your face. Chilled organ notes guide us into Say Something before the pounding bass beat is brutal and drops with the force of a 1000lb bomb. This one features Micky Swags, Wordsmiff Flip and Eskar (Nuke Fam Records) on the vocals with additional features from DJ Blend and Jabbathakut on the cuts, and is really all about he art of rapping and using words, similes and metaphors to bring your thoughts to reality and say something, no matter what it is. This track is a remix of the original Say Something single from DJ Blend and Micky Swags feat. Wordsmiff Flip and Eskar.

The album ends, or rather winds down, with the epic twenty plus minute Yoga Beatz (Blunts & Blaze Mix), which helps you float back to earth after spending all of what went before this moment, up in the stratosphere. There are elements of enigma, eastern flavours and sitar vibes that mix with a wealth of musical sounds to create this chillout, trip hop masterpiece that has the capability to take you wherever it is you want to go as you take a chill pill and drift off into a place of serenity courtesy of this musical meditative experience…

 

What a cracking album! I mean, there truly is something here for anyone and everyone to enjoy, and I don’t say that lightly.

What Happy Headz have done with Beat Tripping is to encapsulate the feel of a festival, club night or rave vibe, where there are multiple stages with a variety of musical genres all together in one place, for one night only. Then the album is finished off, as any good night is, with an extended chillout session that brings your energy back down to earth, before letting it drift off once more in a rather different fashion.

The production is truly a masterclass of multi-genre musical vibes that creates this energy that keeps you rooted in the present, while taking you back to days gone by but, that’s just from my standpoint as fifty something dude who has encountered more musical genres that you can shake a stick at. But the production on every track here perfectly captures the vibe of the musical genre it denotes. There is little more you say than that really. But, beyond that the flow of the album is like walking between stages or rooms and listening to a wealth of different music, while all the time keeping your energy levels raised up into the atmosphere. It also displays the wealth of influences that impact on us and how me might not vibe with a certain genre of music but, under the right conditions, the energy that music creates just draws us in and we can’t help but let it take control of us.

What you also see here is how, by picking the right guest artists to feature, it gives another depth, another element to something that is already, by all appearances, perfect as it is. These guests maybe unknown vocalists or more well-known artists, even those who have previously worked together but, all add their stamp, as a part of the Happy Headz Collective, in making this something truly special.

I must be honest here and say that there is little more I can say. The words kinda flowed so well as I wrote this and now, I just want to share it with all of you so, please give this one a listen and enjoy it as much as I have.

My humble thanks to Haynesy and Eskar of Nuke Fam Records for asking me to review this truly superb release.

Beat Tripping by Happy Headz is released through Nuke Fam Records.

 

On that note,

I’ll see you in the Stratosphere…

Steve

LINKS

You can find all the streaming links for Beat Tripping Here:

https://ditto.fm/beat-tripping

Check Out Nuke Fam Records Website Here:

https://www.nukefamrecords.com/

Check out the Debut album from Happy Headz - One Summer Here:

https://ditto.fm/one-summer-happy-headz

VIDEOS

Beat Tripping Album Sampler

 

 

 

 

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

Welcome to Infinite Sounds

Hi All,

Welcome to my new blog Infinite sounds.
Basically I took the name from my Paranormal research group Infinite Realities.

Anyway,

As we kick off the new year I really wanted to kick off the Blog with something awesome and i still hope to do that.
But, for now this is the into to the group and please forgive the addition of Hip Hop Zombie Gnomes, that's a little bit of fun i am looking to inject into the reviews.

Since I brought my first record, a 7" vinyl of The Devil went down to Georgia by The Charlie Daniels Band when i was still in single figures, age wise, i have loved music in many different forms and i grew up with Hip Hop from 1984 onward. But, i always kept an interest in forms of music and there are only a few genres i don't like much but, may dabble in them if there is something i like.

So, this Blog will feature anything i like and might be an official release to bandcamp release to a soundcloud release and there will be plenty of different vibes from Hip Hop and rap to rock, jazz, funk, chill hop.... Basically if i like it then I'll review it and i might even review something you ask me to.

One thing I have struggled with as i begin my journey into blogging. I am not very well off at this time and i do not have much funds to go out and get the stuff i enjoy so, i am going to have to rely on borrowed stuff and gifted stuff alongside the small amount of stuff i can afford to get hold of.
But, i will find a way to review things regardless.

Anyway, here is to 2017 being a bumper year of bangers and dope beats to make your eardrums pop.

I'm outta here for now.

Keep ya eye's peeled for the first review coming year soon.

Steve