James Bucknell wrote:
funny you should mention farley jackmaster funk when it comes to >appropriation of other songs. 'love can't turn around' was "ripped" >from isaac hayes' 'i can't turn around'. (incidentally, steve hurley >claims he wrote 'love can't turn around' and that farley stole it from >him).farley also used the bassline from mfsb's 'love is the message' >for another track. so maybe technotronic were the people getting the >revenge, or maybe such concepts underlying them are meaningless.
I wasn't saying that Farley is a saint in this matter, of course not. All the "Deep house"-side tracks on that No vocals necessary LP I mentioned are cover versions from original 70's discocuts for example.
These questions of stealing and borrowing are a shady matter in dancemusic. Sony trying to make an exact replicate of UR's "Jaguar", and make lots of money out of it, is taken much more seriously because Sony is a huge company (that could buy small African countries if it wanted to) that's clearly ripping a small label.
In Chicago scene there was basically just competition between DJ's, everyone's trying to be the hottest DJ in town. Funny thing is that what was "innocent" ripping between DJs became the root of bitterness when the bigger labels (and money) got involved. I bet "Love can't turn around" on TRAX and HOUSE (not to mention licences) sold much more than "I can't turn around" on RCA, so in this case multiple smaller companies actually took money from bigger label's hand, because Farley's track came first. And I doubt if "I can't turn around" had been released earlier it would have been any better success. Love can't... is simply more superior track, that's the reason for it's success.
And what about Knuckles ripping J. Principle? There's another classic situation who gets his/her name on the labels.
I see the early Chicago track- & editculture very similar to the Jamaican rhythm tradition, where everybody's making a VERSION of a common rhythm-theme. It's when someone's makin a buck out of it that rings a bell.
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