Rap, Electro, Disco
It all started with a vague interest in disco stemming from hints dropped by New Order, ACR and the '80s downtown nyc art music scene as well as the records repressed by the guy who runs gimme gimme records. If cool people thought disco was cool, maybe there was something to it. And then Soul Jazz pressed that Arthur Russell collection and new york hipsters were throwing disco parties at Tonic. I was convinced that disco was going to be the next big hipster craze. And it was sort of, but really wasn't. Kids were not scouring record bins for obscure disco records but obviously the dance thing was already big with the kids. Chk Chk Chk and Rapture records were effectively punk disco records and those came out before my interest in the genre and that's about as far as it was going to go. There might be Disco Not Disco comps but not much else. But that doesn't mean my interest wasn't piqued and I just continued down the path that no hipster would follow. Pursuing disco records.
So far it's been hit/miss and day-to-day as far as my love of this music goes. Moroder's records are all good but can be a bit much on somedays. Some of the shit is crap and most of the used 12"s in the stores are crap too. Luckily it has also lead easily into early new york hip-hop which came out primarly on new york independent disco labels that played it as the fad it was in the downtown discos. Sugarhill, P&P, Streetwise, Tommy Boy were all more or less disco labels that happened to have bigger success with early hip-hop releases and subsequently became hip-hop labels. Furthermore, since most of the early hip-hop records were just rap over recycled disco breaks it was more-or-less disco from the recorded music perspective. Party music with a dance beat. I think my deepest interest is in the early electro sounds from new york. Soul Sonic Force's first couple 12"ers, Marley Marl's first productions and such. Kraftwerk meets Boogie Down Bronx.
Dan played a group in Munich called Warp 9 on Prism records. Prism being another nyc start -up jumping from the disco beat to the electro hip-hop hits. Electro jams produced by Jellybean Benitz. And it's good so I think I'll continue to pursue it. Good stuff.
So far it's been hit/miss and day-to-day as far as my love of this music goes. Moroder's records are all good but can be a bit much on somedays. Some of the shit is crap and most of the used 12"s in the stores are crap too. Luckily it has also lead easily into early new york hip-hop which came out primarly on new york independent disco labels that played it as the fad it was in the downtown discos. Sugarhill, P&P, Streetwise, Tommy Boy were all more or less disco labels that happened to have bigger success with early hip-hop releases and subsequently became hip-hop labels. Furthermore, since most of the early hip-hop records were just rap over recycled disco breaks it was more-or-less disco from the recorded music perspective. Party music with a dance beat. I think my deepest interest is in the early electro sounds from new york. Soul Sonic Force's first couple 12"ers, Marley Marl's first productions and such. Kraftwerk meets Boogie Down Bronx.
Dan played a group in Munich called Warp 9 on Prism records. Prism being another nyc start -up jumping from the disco beat to the electro hip-hop hits. Electro jams produced by Jellybean Benitz. And it's good so I think I'll continue to pursue it. Good stuff.
posted by furtanic at 12:58 PM
0 Comments:
Post a Comment
<< Home