RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
the piano chord was an established part of disco music and house music before marshall came along and made move your body. his claims that using piano chords was so out of context and came more from fats domino is a little hard to take. here are some paino tracks that predate marshall. cheryl lynne ' you saved my day' - a disco piano stormer that was big on theearly chicago house scene. thank ya by sweet d on trax samples the piano from 'you saved my day' and predates move your body. discogs is down so i cant check, but didn't 'someday' come out before 'move your body'? it has to be the all time piano house track. there are more examples, but the point is - don't beleive everything that a chicago dj tells you. btw - i noticed that the cheryl album has been re-released, not that it is hard to find second hand. james www.jbucknell.com Odeluga, Ken [EMAIL PROTECTED] ones.com To [EMAIL PROTECTED], 06/07/05 07:01 PM 313@hyperreal.org cc Subject RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno interestingly, in those interviews in the acid comps on soul jazz, i think its farley who talks about not being into disco but rock music and how he went from rock to house music. tom andythepooh.com *** I remember Marshall Jefferson saying something similar about how some of those early piano riffs were inspired by 80s rock music. k ForwardSourceID:NT0002024A
Re: RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
so did anyone else think that galoppierende zuversicht live set was a waste of listening time? i thought it was a great set, actually. i was there for the show, which was great, so maybe i'm more partial to it for having been there. it was actually a good techno night here in San Francisco - lots of people packed into a small club, everybody dancing, people dancing on speakers, good, excited energy - we don't always get that at techno parties here. but i suppose musically it's a matter of taste, and i loved it. as for the article from the sf weekly (or weakly, as i like to think of it, since it's the more corporate of the 2 local alternative weeklies), i actually liked seeing it in the paper. yes, the author was off on the bpm counts and off on the history. but what i liked was that it was an article in a widely read paper for a general audience (people who aren't already techno fans) that was actually ENCOURAGING PEOPLE TO GO TO TECHNO PARTIES. we need that pretty badly here, as sometimes it feels like there's only about 35 or so techno fans who go out dancing here.(i'm exagerrating - there are more than 35 of us. but the scene is small, compared to the number of people who go out partying/clubbing regularly .) i'm not so into techno being so underground here that there are hardly any parties and promoters can't afford to bring people out. luckily, this has been starting to change.
Re: RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
so did anyone else think that galoppierende zuversicht live set was a waste of listening time? i thought it was a great set, actually. i was there for the show, which was great, so maybe i'm more partial to it for having been there. it was actually a good techno night here in San Francisco - lots of people packed into a small club, everybody dancing, people dancing on speakers, good, excited energy - we don't always get that at techno parties here. but i suppose musically it's a matter of taste, and i loved it. as for the article from the sf weekly (or weakly, as i like to think of it, since it's the more corporate of the 2 local alternative weeklies), i actually liked seeing it in the paper. yes, the author was off on the bpm counts and off on the history. but what i liked was that it was an article in a widely read paper for a general audience (people who aren't already techno fans) that was actually ENCOURAGING PEOPLE TO GO TO TECHNO PARTIES. we need that pretty badly here, as sometimes it feels like there's only about 35 or so techno fans who go out dancing here.(i'm exagerrating - there are more than 35 of us. but the scene is small, compared to the number of people who go out partying/clubbing regularly .) i'm not so into techno being so underground here that there are hardly any parties and promoters can't afford to bring people out. luckily, this has been starting to change.
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
you don't have to read what farley says about his musical development and what got him into house 20 years after the fact - you can listen to it. there are piles of his mixes from the early/mid 80s on deep house pages. james www.jbucknell.com Thomas D. Cox, Jr. [EMAIL PROTECTED] To h.com313@hyperreal.org cc 06/07/05 08:01 AM Subject Re: (313) Re: Galoppierende Please respond to Zuversicht or Nobody Listens to [EMAIL PROTECTED] Techno h.com -- Original Message -- From: Matt MacQueen [EMAIL PROTECTED] Chicago house (then and even now) still holds disco deep down in it's heart interestingly, in those interviews in the acid comps on soul jazz, i think its farley who talks about not being into disco but rock music and how he went from rock to house music. tom andythepooh.com ForwardSourceID:NT00020176
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
early hip hop is rapping over disco records. 'good times' - that's a disco record. hell, they even rap about going to discos and dancing. the first thing that super rhymes does when he arrives on earth is head to the disco ...i went to studio 54 but they wouldn't even let me in the door... (sung with a transylvanian accent!) once he gets in, he does a freak attack on the dance floor by doing the the translyvania boogie - seven days a week. the stuff on tuff city, early spoonie g, patrick adams and peter brown stuff. t-ski 'catch a groove' and many many more. the early rapping over disco basslines stuff is as good as it gets! brilliant music. james www.jbucknell.com darnistle [EMAIL PROTECTED] bola.com To 313 313@hyperreal.org 06/07/05 07:23 AM cc Subject Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno Kent Williams wrote: It reminds me a bit too of the stuff written about early hip hop -- people like Grandmaster Flash thought of what they were doing as making their own kind of disco. Nearly 30 years on, any commonality between Disco and Hip Hop would seem unlikely to people who don't know the history. I was into disco in the 70s and when I first heard hiphop I didn't see any commonality between it and disco. I still don't see the connection between early hiphop and disco, unless the comment making their own kind of disco is synonymous with making their own kind of dance music in which case the only real commonality is that they're both forms of dance music and has little to do with disco per se. ForwardSourceID:NT00020166
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
On Jul 5, 2005, at 8:20 PM, [EMAIL PROTECTED] wrote: early hip hop is rapping over disco records. 'good times' - that's a disco record. hell, they even rap about going to discos and dancing. snip the stuff on tuff city, early spoonie g, patrick adams and peter brown stuff. t-ski 'catch a groove' and many many more. the early rapping over disco basslines stuff is as good as it gets! brilliant music. totally agree, nice breakdown. now let's have a jbucknell custom mix of this era! Your nu groove one is in heavy iPod rotation. There is a fun compilation on PP called super rap which is all disco raps from that era, recommended if you can stand epic long disco raps, they're not for everyone but i love 'em. There's such a charming naivete in the music at that point... they have no idea it's going to evolve to the the overwhelmingly dominant commercial meme in popular music 20 years later. Back then it was just kids storytelling over disco basslines and drumbreaks... and it sounds like it. peace
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
I was doing a little bit of net research on Ron Hardy over the weekend because of all the DJs on the Deep House Page, his mixes (and there are fortunately a lot of them!) really hit the sweet spot for me. I don't think there was any one moment, DJ or record that started house, it just evolved out of the post-disco scene. Likewise, techno in the late 1980s generally meant a Detroit-style house remix or, of course, the home-grown efforts by The Three and others. The techno mix on a lot of records from that time, while varying somewhat from the smoother Chicago style, would be considered house today, and a lot of house from the mid-1980s would probably be called disco today by those who don't know the difference :) (Think Love Can't Turn Around for example.) House split several ways in Chicago as well -- toward the tracky stuff, acid house, hip house, and the raw street sound of the early Dance Mania. And the melodic disco-flavored approach favored by GU and others in Chicago and Beatdown Sounds in Detroit these days has always been there. There are many who say Let No Man Put Asunder was the first house record. To my ears, it's really disco, but obviously it was hugely influential (and endlessly sampled right up to today). The first track that really -sounds- like house to me is Kool the Gang's Open Sesame which has that big booming drum track and is quite a bit faster than the disco of the time (1976). It's just as well that house has its own creation myth, because no one man owns house music, and as I told you before, this is our house and our house music. :) -- fh
RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
techno is an offshoot of chicago house? Ok, I didn't read the article and am prepared to accept from you lot that it's duff, but the above is at least partly correct, non? k
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
I was doing a little bit of net research on Ron Hardy over the weekend because of all the DJs on the Deep House Page, his mixes (and there are fortunately a lot of them!) really hit the sweet spot for me. oh oooh oh. now then. ron hardy is my absolute FAVOURITE dj I've never seen. ha. I don't think I have ever flipped out over a dj mix tape as much as I did over those ron hardy tapes. cripes. mind you, well, I put them on now and get shivers still. owww, my kinda dj. the moods, the darkness, the light at the end of the tunnel, the fecking intense smash up philly disco after things like sleazy d, the edits, the energy. god. and then the stories I hear about the music box. wish i could have gone. as I said yesterday, I am creaming my pants over that new tim lawrence bok of this era as I simply cannot get enough of reading about this era, or seeing people talk about it in those tv docs etc. makes me go all warm inside. _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
Ken wrote: techno is an offshoot of chicago house? Ok, I didn't read the article and am prepared to accept from you lot that it's duff, but the above is at least partly correct, non? Yes. As has been amply demonstrated here in the past day, there is undeniably a strong connection. I was a bit sloppy with my earlier post. The specific connection drawn by the author of the article was that Cybotron was inspired by Chicago house. While there is a much stronger connection between Chicago house and some of the early Detroit stuff, I think it's fairly safe to say that Cybotron is much more part of the whole electro/hip-hop/bass thing.
Re: RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
so did anyone else think that galoppierende zuversicht live set was a waste of listening time? I did. if thats the best live techno act in the world, earth is losing it's touch. -Joe From: dave cronin [EMAIL PROTECTED] Date: 2005/07/06 Wed PM 12:03:26 EDT To: Odeluga, Ken [EMAIL PROTECTED], Fred Heutte [EMAIL PROTECTED], 313@hyperreal.org Subject: RE: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno Ken wrote: techno is an offshoot of chicago house? Ok, I didn't read the article and am prepared to accept from you lot that it's duff, but the above is at least partly correct, non? Yes. As has been amply demonstrated here in the past day, there is undeniably a strong connection. I was a bit sloppy with my earlier post. The specific connection drawn by the author of the article was that Cybotron was inspired by Chicago house. While there is a much stronger connection between Chicago house and some of the early Detroit stuff, I think it's fairly safe to say that Cybotron is much more part of the whole electro/hip-hop/bass thing.
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
[EMAIL PROTECTED] wrote: early hip hop is rapping over disco records. 'good times' - that's a disco record. hell, they even rap about going to discos and dancing. the first thing that super rhymes does when he arrives on earth is head to the disco ...i went to studio 54 but they wouldn't even let me in the door... (sung with a transylvanian accent!) once he gets in, he does a freak attack on the dance floor by doing the the translyvania boogie - seven days a week. the stuff on tuff city, early spoonie g, patrick adams and peter brown stuff. t-ski 'catch a groove' and many many more. the early rapping over disco basslines stuff is as good as it gets! brilliant music. james www.jbucknell.com I realize that disco rhythms were used in hiphop and that there was crossover, but the same can be said about punk too. The fact that disco rhythms and subject matter show up in punk songs doesn't mean that punk is another form of disco. I just find it questionable to say that one is a form of the other just because it incorporates its elements.
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
jeez. where did they find that guy? that's like the worst music journalism i've ever read. the article is pretty much pointless, and basically only good to point out how misinformed the author is (techno ranges in bpm from 120-125 bpm? techno is an offshoot of chicago house?) --- Fred Heutte [EMAIL PROTECTED] wrote: Speaking from afar, since I live in Portland, SF is my first musical home (and Detroit the second) . . . I'm sorry, that article is just plain bad and while the SF Weekly has gone downhill since they were bought by the New Times chain, this is far below their threshhold. In fact, while techno is not easy to find in SF it's been around for many years. Heck, I've even seen Richie Hawtin play at 1015 Folsom :) There have been techno weeklies off and on in SF for years and while it will never be a huge thing it's always around, and there is even a small loyal crew that gravitates to the US and Detroit sound over the European ones. - fred
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
Techno post-dates Chicago House; Dan Sicko mentions in Techno Rebels that Derrick May and others among the originators made frequent trips to Chicago in the 80s to get records. Maybe 'offshoot' doesn't do justice to the creativity of Detroit artists, but it's not like there's no connection between house and techno. For that matter, there's a lot of Chicago house tracks that sound pretty techno, and Detroit Techno records that sound pretty housey. In fact if there's a dominant style among DJs in Iowa it would be to make no distinction between Chicago and Detroit records. I hear house DJs play techno and vice versa every time I go out. On 7/5/05, dave cronin [EMAIL PROTECTED] wrote: jeez. where did they find that guy? that's like the worst music journalism i've ever read. the article is pretty much pointless, and basically only good to point out how misinformed the author is (techno ranges in bpm from 120-125 bpm? techno is an offshoot of chicago house?)
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
i think my email server ate the original post. can i get the link to the article? tom -- Original Message -- From: dave cronin [EMAIL PROTECTED] Date: Tue, 5 Jul 2005 11:41:00 -0700 (PDT) jeez. where did they find that guy? that's like the worst music journalism i've ever read. the article is pretty much pointless, and basically only good to point out how misinformed the author is (techno ranges in bpm from 120-125 bpm? techno is an offshoot of chicago house?) --- Fred Heutte [EMAIL PROTECTED] wrote: Speaking from afar, since I live in Portland, SF is my first musical home (and Detroit the second) . . . I'm sorry, that article is just plain bad and while the SF Weekly has gone downhill since they were bought by the New Times chain, this is far below their threshhold. In fact, while techno is not easy to find in SF it's been around for many years. Heck, I've even seen Richie Hawtin play at 1015 Folsom :) There have been techno weeklies off and on in SF for years and while it will never be a huge thing it's always around, and there is even a small loyal crew that gravitates to the US and Detroit sound over the European ones. - fred andythepooh.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
yeah fair... massive connections between house and techno, and that is the way i like it too! But just for the record on a historical timeline, the earliest detroit techno things like A Number of Names and Cybotron and early Model 500 took more from european sounds than they did chicago house, and pre-dated a lot of chicago house actually. Clear (1982 !) was not a debt nor offshoot of chicago house. Chicago house (then and even now) still holds disco deep down in it's heart, where when Juan started out there was moreso a self-conscious rejection of that that kind of ethos in his early work. I know you know this Kent, but just in the interest of the public record :) semi related, came across this interesting bit of writing about music owing to Kraftwerk, Clear was on it... naturally http://www.sci.fi/~phinnweb/krautrock/mojo-kraftinfluences.html peace On Jul 5, 2005, at 2:18 PM, Kent Williams wrote: Techno post-dates Chicago House; Dan Sicko mentions in Techno Rebels that Derrick May and others among the originators made frequent trips to Chicago in the 80s to get records. Maybe 'offshoot' doesn't do justice to the creativity of Detroit artists, but it's not like there's no connection between house and techno. For that matter, there's a lot of Chicago house tracks that sound pretty techno, and Detroit Techno records that sound pretty housey. In fact if there's a dominant style among DJs in Iowa it would be to make no distinction between Chicago and Detroit records. I hear house DJs play techno and vice versa every time I go out. On 7/5/05, dave cronin [EMAIL PROTECTED] wrote: jeez. where did they find that guy? that's like the worst music journalism i've ever read. the article is pretty much pointless, and basically only good to point out how misinformed the author is (techno ranges in bpm from 120-125 bpm? techno is an offshoot of chicago house?) -- MM http://sonicsunset.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
yeah, spot on in my book. (and a point i already attempted to communicate to the author of that article.) of course there's cross-pollination throughout the history, but there is a difference between the machine funk heritage and the disco heritage. --- Matt MacQueen [EMAIL PROTECTED] wrote: yeah fair... massive connections between house and techno, and that is the way i like it too! But just for the record on a historical timeline, the earliest detroit techno things like A Number of Names and Cybotron and early Model 500 took more from european sounds than they did chicago house, and pre-dated a lot of chicago house actually. Clear (1982 !) was not a debt nor offshoot of chicago house. Chicago house (then and even now) still holds disco deep down in it's heart, where when Juan started out there was moreso a self-conscious rejection of that that kind of ethos in his early work. I know you know this Kent, but just in the interest of the public record :) semi related, came across this interesting bit of writing about music owing to Kraftwerk, Clear was on it... naturally http://www.sci.fi/~phinnweb/krautrock/mojo-kraftinfluences.html peace On Jul 5, 2005, at 2:18 PM, Kent Williams wrote: Techno post-dates Chicago House; Dan Sicko mentions in Techno Rebels that Derrick May and others among the originators made frequent trips to Chicago in the 80s to get records. Maybe 'offshoot' doesn't do justice to the creativity of Detroit artists, but it's not like there's no connection between house and techno. For that matter, there's a lot of Chicago house tracks that sound pretty techno, and Detroit Techno records that sound pretty housey. In fact if there's a dominant style among DJs in Iowa it would be to make no distinction between Chicago and Detroit records. I hear house DJs play techno and vice versa every time I go out. On 7/5/05, dave cronin [EMAIL PROTECTED] wrote: jeez. where did they find that guy? that's like the worst music journalism i've ever read. the article is pretty much pointless, and basically only good to point out how misinformed the author is (techno ranges in bpm from 120-125 bpm? techno is an offshoot of chicago house?) -- MM http://sonicsunset.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
I stand corrected; I didn't remember what year Clear and Shari Vari came out. As another data point -- when I asked Kevin Saunderson about the large number of House, and particularly Deep House DJs that were booked at Movement in 2004, his response was we don't really see house and techno as different things. It reminds me a bit too of the stuff written about early hip hop -- people like Grandmaster Flash thought of what they were doing as making their own kind of disco. Nearly 30 years on, any commonality between Disco and Hip Hop would seem unlikely to people who don't know the history. I don't know if any of you all get spammed by Jesse Saunders booking agent, but all his promotional materials make a big deal about him being The Originator Of House Music, and having put out the first House record in 1983. That claim seems pretty absurd to me. A lot of people who were making house music early on took a long time to get around to making records, though they were playing reel to reel productions in the clubs well before Jesse Saunders' record came out. On 7/5/05, Matt MacQueen [EMAIL PROTECTED] wrote: yeah fair... massive connections between house and techno, and that is the way i like it too! But just for the record on a historical timeline, the earliest detroit techno things like A Number of Names and Cybotron and early Model 500 took more from european sounds than they did chicago house, and pre-dated a lot of chicago house actually. Clear (1982 !) was not a debt nor offshoot of chicago house. Chicago house (then and even now) still holds disco deep down in it's heart, where when Juan started out there was moreso a self-conscious rejection of that that kind of ethos in his early work. I know you know this Kent, but just in the interest of the public record :)
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
.. reconstructing history is as tricky as predicting future=) it's mostly exciting to dig your roots for sure. it seems there have been a major sonic explosion around the globe, probably due to new way of composing as electronic instruments became widely available. although current possibilities of employing sound already seem infinite, the limitations are set by sound storage and replay technologies, so i wonder what's next and when? Z Williams wrote: I stand corrected; I didn't remember what year Clear and Shari Vari came out. As another data point -- when I asked Kevin Saunderson about the large number of House, and particularly Deep House DJs that were booked at Movement in 2004, his response was we don't really see house and techno as different things. It reminds me a bit too of the stuff written about early hip hop -- people like Grandmaster Flash thought of what they were doing as making their own kind of disco. Nearly 30 years on, any commonality between Disco and Hip Hop would seem unlikely to people who don't know the history. I don't know if any of you all get spammed by Jesse Saunders booking agent, but all his promotional materials make a big deal about him being The Originator Of House Music, and having put out the first House record in 1983. That claim seems pretty absurd to me. A lot of people who were making house music early on took a long time to get around to making records, though they were playing reel to reel productions in the clubs well before Jesse Saunders' record came out. On 7/5/05, Matt MacQueen [EMAIL PROTECTED] wrote: yeah fair... massive connections between house and techno, and that is the way i like it too! But just for the record on a historical timeline, the earliest detroit techno things like A Number of Names and Cybotron and early Model 500 took more from european sounds than they did chicago house, and pre-dated a lot of chicago house actually. Clear (1982 !) was not a debt nor offshoot of chicago house. Chicago house (then and even now) still holds disco deep down in it's heart, where when Juan started out there was moreso a self-conscious rejection of that that kind of ethos in his early work. I know you know this Kent, but just in the interest of the public record :)
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
Kent Williams wrote: It reminds me a bit too of the stuff written about early hip hop -- people like Grandmaster Flash thought of what they were doing as making their own kind of disco. Nearly 30 years on, any commonality between Disco and Hip Hop would seem unlikely to people who don't know the history. I was into disco in the 70s and when I first heard hiphop I didn't see any commonality between it and disco. I still don't see the connection between early hiphop and disco, unless the comment making their own kind of disco is synonymous with making their own kind of dance music in which case the only real commonality is that they're both forms of dance music and has little to do with disco per se.
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
in some ways, you're totally right (and for the record, i'm not in any way doubting that you know what you're talking about)-- the boundaries of genre, especially for the prototypes, are pretty hazy and tend to be post-facto critical handles rather than distinctions intended by the artists but. i'm not so much pointing out the distinctions between hip hop and disco because as you point out with the elloquent example of grandmaster flash, he was just flipping disco cuts much like a house record (...on the wheels of steel opens with the chic samples, case in point), but rather different approaches within hip hop (for example). mantronix, arthur baker, bambataa, egyptian lover, dynamixx II, etc were, as they say, on some different shxt. and definitely a far cry from disco at that point. (though there were certainly some euros going there with the disco sound, or ymo, or...) i can't quite put a name on the distinction i'm trying to make, but it's something having to do with the robot/mutant vibe rather than a strictly party thing. ask Kodwo... he know's what i'm talking about. and speaking of crazy mutant sounds, i just watched Brother from Another Planet last night. how techno is that movie? --- Kent Williams [EMAIL PROTECTED] wrote: I stand corrected; I didn't remember what year Clear and Shari Vari came out. As another data point -- when I asked Kevin Saunderson about the large number of House, and particularly Deep House DJs that were booked at Movement in 2004, his response was we don't really see house and techno as different things. It reminds me a bit too of the stuff written about early hip hop -- people like Grandmaster Flash thought of what they were doing as making their own kind of disco. Nearly 30 years on, any commonality between Disco and Hip Hop would seem unlikely to people who don't know the history. I don't know if any of you all get spammed by Jesse Saunders booking agent, but all his promotional materials make a big deal about him being The Originator Of House Music, and having put out the first House record in 1983. That claim seems pretty absurd to me. A lot of people who were making house music early on took a long time to get around to making records, though they were playing reel to reel productions in the clubs well before Jesse Saunders' record came out. On 7/5/05, Matt MacQueen [EMAIL PROTECTED] wrote: yeah fair... massive connections between house and techno, and that is the way i like it too! But just for the record on a historical timeline, the earliest detroit techno things like A Number of Names and Cybotron and early Model 500 took more from european sounds than they did chicago house, and pre-dated a lot of chicago house actually. Clear (1982 !) was not a debt nor offshoot of chicago house. Chicago house (then and even now) still holds disco deep down in it's heart, where when Juan started out there was moreso a self-conscious rejection of that that kind of ethos in his early work. I know you know this Kent, but just in the interest of the public record :)
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
-- Original Message -- From: Matt MacQueen [EMAIL PROTECTED] Chicago house (then and even now) still holds disco deep down in it's heart interestingly, in those interviews in the acid comps on soul jazz, i think its farley who talks about not being into disco but rock music and how he went from rock to house music. tom andythepooh.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
-- Original Message -- From: darnistle [EMAIL PROTECTED] I was into disco in the 70s and when I first heard hiphop I didn't see any commonality between it and disco. I still don't see the connection between early hiphop and disco, unless the comment making their own kind of disco is synonymous with making their own kind of dance music in which case the only real commonality is that they're both forms of dance music and has little to do with disco per se. obviously i wasnt even born at the time so i wasnt there to be able to agree or disagree with you, but your perceptions aside, hiphop obviously took alot from disco. from the deejays using the breaks from disco cuts as well as funk cuts to fact that sugar hill released many disco cuts. its all interrelated! just looking through the productions of the people who made electro/boogie/disco/hiphop and seeing all the common names (arthur baker is one very big one, but most of the big names did stuff in all of those genres) will show that the relationship was quite strong indeed. tom andythepooh.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
And Adonis- and as i recall from articles many years ago, Larry Heard- and I can ASSURE you Mad Mike is right into Rush (Neil Peart) and various other seriously unfashionable Rock outfits. cheers Jason On 5 Jul 2005, at 23:01, Thomas D. Cox, Jr. wrote: -- Original Message -- From: Matt MacQueen [EMAIL PROTECTED] Chicago house (then and even now) still holds disco deep down in it's heart interestingly, in those interviews in the acid comps on soul jazz, i think its farley who talks about not being into disco but rock music and how he went from rock to house music. tom andythepooh.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
And Adonis- and as i recall from articles many years ago, Larry Heard- and I can ASSURE you Mad Mike is right into Rush (Neil Peart) and various other seriously unfashionable Rock outfits. Mike's a big axe man tho aint he Jason? Hardly surprising he's into that sh1t, still - I bet my Danzig collection is bigger than his *LOL* Martin
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
interestingly, in those interviews in the acid comps on soul jazz are these good tom? i was thinking about buying the cds to get the sleeve notes. they're by tim lawrence right (?). are they long? I can't WAIT for his book on Chicago in the 80's. alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers LLP. PricewaterhouseCoopers LLP may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring.
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
-- Original Message -- From: [EMAIL PROTECTED] are these good tom? i was thinking about buying the cds to get the sleeve notes. they're by tim lawrence right (?). are they long? I can't WAIT for his book on Chicago in the 80's. they cover the sleeves of all 4 records. i havent even gotten through them all yet, mainly because reading off of a record sleeve is kind of annoying. they could just use the regular sleeves and toss a CD booklet in there and id be happy. but im not complaining. i think you should buy them just to make sure that they do well and will venture further into acid and other straight up electronic dance music genres. tim lawrence did the long story in one set, the other set has all the interviews (farley, green velvet, adonis, and someone else i cant think of right now). tom andythepooh.com
Re: (313) Re: Galoppierende Zuversicht or Nobody Listens to Techno
Speaking from afar, since I live in Portland, SF is my first musical home (and Detroit the second) . . . I'm sorry, that article is just plain bad and while the SF Weekly has gone downhill since they were bought by the New Times chain, this is far below their threshhold. In fact, while techno is not easy to find in SF it's been around for many years. Heck, I've even seen Richie Hawtin play at 1015 Folsom :) There have been techno weeklies off and on in SF for years and while it will never be a huge thing it's always around, and there is even a small loyal crew that gravitates to the US and Detroit sound over the European ones. - fred
