19+ Plus Event
The Station Music Hall
505 Campbell Street, Sarnia Ontario
VIP Meet an Greet will take place at The Station Music Hall
@ 7:00, so make sure you bring your VIP print out, or tickets.
OFFICIAL TOUR ANNOUNCEMENT:
“Attention all Canadian juggalos and juggalettes — we’ve got some great news. Untouchable Detroit rap duo Insane Clown Posse are embarking on a massive Canadian tour.
That’s right, it’s time to stock up on face paint and Faygo, because the dynamic duo of Violent J and Shaggy 2 Dope will bring their music (and worldwide movement) to various venues around the country.
The trek kicks off at Quebec’s previously announced Amnesia Rockfest on June 24, and continues with shows throughout our great land before concluding in Victoria on July 17.
This is the first time ICP have brought their mythical Dark Carnival to Canada in over a decade, so this news is undoubtedly cause for celebration.!” – Exclaim.ca
Here is the press release about the super-cool DJ showcase event going on tomorrow night that I cam proud to be part of.
DJ Arctic currently holds down a residency at this bar but has opened up the night to showcase some of the great DJ talent we have in this city. I am honoured to be kicking off the night. Come early to catch my set!
Turn Turbo Fridayz Presents…..
The ultimate DJ lineup live and direct at the Martini bar on 645 Richmond Street, London, Ontario Canada on June 24th 2016.
Chase March -9:00-9:30
Wiskaz – 9:30-10:00
DJ Starchild – 10:00-10:30
DJ Milla – 10:30-11:00
DJ Hullewud – 11:00-11:30
Mark the Mechanic – 11:30-12:00
Bnutz – 12:00-12:30
Gripski – 12:30-1:00
Arctic – 1:00-1:30
Divinyl – 1:30-2:00
Bnutz – is a madman on the ones and twos watch out for this performance as he has previously competed in the red bull threestyle competition in london and knows how to hold it down like the gravity of a true star. he didnt earn the name Bnutz for no reason. Be sure to check him tear the roof off.
Gripski – the cut magician is going to destroy the evening im sure as he comes out to spin pure fire. He has been involved with the scene for over a decade from PHC to Londerground this Toronto native has made a name for himself in london.
Hullewud – Not much is needed to be said as possibly the most notorious DJ in london makes his way to the stage. with accalaids to long to mention he has made the scene what it is today and has shaped the london landscape for over 2 decades.
Wiskaz – Pioneer of the londerground battle scene and long time battle DJ Wiskaz is coming out to tear it down with his precise cuts and 90s jams.
Arcitc – Turn Turbo Fridayz creator and martini bar resident DJ is coming out to make an impact on the scene for all the DJs out there that need to learn how to do it right.
Starchild – The first person to bring the scratch to London. What more needs to be said other than that alone. his long accredited career includes radio dj for over a decade, club dj, and host of many infamous events. from meeting jam master jay to maestro fresh wes this man has literally built the scene by taking the first shovel full of dirt out of the underground.
Mark the Mechanic – long time dj (redbull threestyle) and scratch master Mark the Mechanic returns to the Martini bar to rip it up on the ones and twos. trust me you dont want to miss out on his unique songs selection and precision scratches.
DJ Milla – DMC champ DJ Milla is coming out to show everyone what it takes to be a champ. D & B will be his focus as he breaks the richter scale and moves the earth this night.
Chase March – No doubt about it thee most hardest working DJ I have ever seen in the radio biz. There isnt an idea this man hasnt come up with first when it comes to promotion.
Divinyl – Straight off the streets of Byron is the one any only Divinyl. I seen this long time freind of mine start from the very beginning in his bedroom and now hes has come so far it blows my mind how much he has accomplished with DJin.
S.O.B. is a newly formed collective of close to 50 artists, mc’s, producers, DJ’s, scene builder and heads across the globe, with the shared goal of preserving old-school, boom-bap, hip-hop music.
It was founded by Sharky with a tonne of help from Cable and in just a few weeks time we now have reached 4 continents and continue to grow at an exhilarating pace. The best part is that everyone is incredibly dope!!!
Don’t believe me…check the roster! (In no particular order)
Kingz Of Vocals
Spencer Jones Armstrong
Cali Spit Club Robert Harris
…less than 2 weeks.
This is just the beginning of the S.O.B. movement.
It’s going down tomorrow night at Gordy’s Brewhouse in London, Ontario, Canada.
Cquel and Abstract Artform will be making their way from Saskatchewan to the Forest City for this great night of hip-hop.
Local favourites Mad Hattr and Tempomental are also on the bill, along with some other great acts. Tempomental usually brings Nick Easton with him to rock the stage with a live flute and saxophone. Their performances are always off the hook.
I am really looking forward to deejaying this show and holding it down all night on the wheels of steel.
WHERE – Gordy’s Brewhouse. 1631 Oxford St. E. London, ON. WHEN – 8:00 p.m. – 2:00 a.m. HOW MUCH – $5
Tonight, we celebrate the 4th Anniversary of Word is Bond Rap Radio.
It’s hard to believe that I started this show four years ago. I have had some great times on the airwaves, produced dozen of documentaries about hip-hop, interviewed close to 100 musicians, had live performances, and spun a lot of great music.
We are having a party at the radio station to celebrate this milestone. If you live anywhere near London, Ontario, Canada, please come by CHRW at Western University to kick it with me live on the air. You are invited to perform a song, jump in on a cypher, and spin a few tracks.
BRING – your beats or tunes on a USB
TUNE IN LIVE – if you can’t make it out, listen to the radio or stream it worldwide.
PHONE IN – (519) 661-3600 I will put you on the air to give your shout-outs and well-wishes.
I have it housed on a farily ugly table. Covering it with a blanket allows me store things underneath it out of sight.
This is power supply. It is much better than a simple power-bar. It has a battery built into it and if the power shuts off, the battery takes over and keeps my system from crashing. This has saved me a few times at bars that didn’t have the best electrical systems in place.
I have a laptop that is my dedicated DJ computer. I don’t use it for any other purpose.
I hate using the mouse pad on laptops. So I asked for this wireless mouse for Christmas. Thanks, mom! It can sit right in front of the mixer and makes controlling my computer a lot easier.
This is a Soundblaster SBX. It is an external soundcard that lets me record my mixsets with ease. I plug in the record feed from my mixer into the line in. I can then record on programs like Audacity or Adobe Audition.
Headphones are a must!
I love the Numark HDX turntables. They are digital and have internal hard-drives, but they are vinyl controlled.
I love having the full-sized, actual vinyl records to scratch. I replaced the clear vinyl that came with the units with some coloured vinyl from my collection.
I have the first generation Rane SL1 Control Box. I have to use the old Scratch Live version of the Serato software. I hope to upgrade soon to a mixer that has Serato built right in so I can use Serato DJ some day.
I have an Allen and Heath Xone: 22 mixer. I really love it. It’s not top of the line but it is a great mixer for a scratch DJ.
This is my most recent accquisition. I bought control vinyl so I can rock on the turntables at the radio station now.
Plus, if I do a DJ gig and they already have turntables, I can leave my at home and rock with these.
I have Road Ready cases though, so my gear is portable. It just takes a couple of trips.
Let me rock your party!
I am available to DJ all events and have great rates.
Sound Unbound: Sampling Digital Music and Culture. Edited by Paul D. Miller aka DJ Spooky
The basic tenet of this book is . . .
Technology enables creativity, community, art, and love. Crippling it to save someone’s outmoded business-model is a crime against humanity.
Sampling is perhaps one of the least understood concepts about modern music, and, in particular, hip-hop. But believe it or not, some very respected musicians have worked with this form and even helped develop it. Artists that you would be surprised to hear about. Artists like The Beatles.
I took tons of notes while reading this collection of essays, articles, and creative pieces. I plan to blog about it over the next few weeks in detail. Suffice it to say, I truly believe that musicians should be allowed to steal, borrow, sample, and take sounds from everywhere to create new works.
Human culture is always derivative, and music perhaps especially so. New art builds on old art. We hear music, process it, reconfigure it, and create something derivative but new – folk melodies become Liszt’s Hungarian Rhapsodies; Roy Acuff’s “Great Speckled Bird” becomes Hank William’s “Wild Side of Life:’ and Rodgers and Hammerstein’s “My Favorite Things” becomes a John Coltrane classic.
And that passage didn’t mention hip-hop once. This is how music works. Hip-hop might be know for sampling more than any other genre but it didn’t invent the practice. Not by a long shot. Although, we might have perfected it.
This was a great read and I recommend it for serious music scholars, hip-hop DJs, music producers, artists, and fans alike.
Why would I read a book entitled, Record Collecting for Girls?
Because Record Collecting is for Everybody!
Just like feminism.
Both of these are great books and while the former isn’t necessarily about feminism, it does touch on some major issues. Courtney E. Smith explains . . .
“I felt it was important to make each week’s show a 50/50 split of male and female artists, and I was amazed by how difficult it was to achieve gender balance.”
I know that struggle all too well. I want Word is Bond Rap Radio to feature female voices on it regularly. I do my best to play at least one female track an episode, and every International Women’s Day is dedicated to the Women in Hip-Hop. But maybe, that’s not enough.
Smith talks about how many of the female popular musicians seem to fall into the same category. For some reason, they all take the same lane. It doesn’t make a lot of sense. She sums it up like this . . .
“I don’t want another Rihanna. I want to know this: Where’s the female equivalent of the Foo Fighters?”
Great question. And there is no easy answer to it. We’ve had only had a handful of female rap groups that have many any sort of noise. There is one group on the horizon now, Heresy. I hope they bring back a resurgence of female rap groups. We need this voice in hip-hop.
I enjoyed reading Record Collecting for Girls and will be writing more posts about it soon. I want to look at how Smith explores soundtracks, Top 5 lists, guilty pleasures, and break-up songs.
Hip-Hop in the Brydges is an all-ages event that I am throwing at the end of the month in association with the Lions and Optimist Club.
I need your help in designing the poster that will be printed off and plastered all around town. If your poster is the winner, you will get 4 free tickets to the show and your very own autographed poster.
There is a great quotation from Z-Trip that illustrates just how inventive the early disc jockeys were.
“As turntablists we were trying to make the instrument of the turntable do things it’s not supposed to. We developed our own decks, mixers, tone arms, needles, everything we needed to facilitate experimentation. We took the baton from the early hip hop and house DJs and ran with it. Pushing the craft of DJing to new levels was the main thing for us–the only thing. DJs now are so worried about getting to the big paychecks, but we were just focusing on the music.”
Deejaying can get quite technical. There are all sorts of terms, gear, buttons, knobs, and effects that can be used to help create vibes, moods, and nice transitions between records. Here is one of them . . .
“The fader slope determines the speed with which the crossfader opens the sound with respect to a given turntable. When mixing and blending, the traditional fader slope allows for a gradual blend as the crossfader moves from left to right or vice versa (the option on the left) However, when scracthing, most DJs prefer a fader slope that allows them to instantaneously open or close the sound of a given turntable (the option on the right.)”
Telling a Story
A good selection of music can not just entertain a crowd, but also tell a story in itself.
Tom Humphries explains, “I’d play a female vocal track, a male vocal track, and then an instrumental. That way they’d get one story from a female perspective, another from a male, and have time to digest those, before I went into the next story. That’s what DJing is–storytelling through music.”
As Long as it Sounds Good
It doesn’t even matter what genre a record is. A good DJ can make it sound good in a mixset or routine.
“When Kool Herc took these principles to New York in the early ’70s there was no hip hop music as we know it today. Herc and the other New York DJs played whatever records they could find from the history vaults of rock, soul, funk, jazz, and current disco and punk combined them in the type of eclectic sets we now call mash-ups. “The records we played weren’t Top 40, they weren’t on the radio,” says Grandmaster Caz, Herc’s peer. ‘We were reaching back into the past to find beats and a special something in old classics and hard to find tracks.'”
You Can Pick From All Genres
“Most of us have a particular music style we identify with. For some, it could be tied to where we grew up, or what our parents listened to. But the pioneering hip hop and house DJs played music from all genres. ‘When I was growing up there was none of this genre obsession you find now in the music industry,’ says Jazzy Jeff. ‘Hip hop DJs played rock, soul, funk; anything and everything with a good beat and a powerful rhythm that people could vibe to. . . I’m trying to get people back to viewing music and music, regardless of genre. I won’t be pressured to play just certain styles or the hottest new tracks. I’m the DJ and I control the music.'”
This is something that doesn’t seem to happen often these days. We have hip-hop DJs that only play golden-age rap, EDM Djs that only play dance music, and Country DJs who only spin music in that genre. A good DJ can use records from virtually any genre and still rock a good show.
Necessity is the Mother of Invention
DJs invented a lot of the recording techniques that are used in professional studios today, but they also invented little things as well.
“Back in the day, when pioneering hip hop DJs were honing their craft, there was a problem with the techniques of cutting, scratching, and backspinning–the turntable platter gripped the vinyl too tightly. “I realized that there had to be a buffer between the metal platter and the vinyl so I could move records back and forth,” says Grandmaster Flash. ‘I bought a piece of felt, cut it into a circle that fit onto the platter, and then sprinkled starch all over it. Then I turned my iron up high and ironed it until it became a hard wafer, I put that between the platter and the record and it did the job.’ While no longer starch-based, the slipmat Flash invented is now used by the majority of DJs on the planet.”
The quotations in today’s post all come from this great book. I highly recommend it for any DJ, beginner or veteran.
If you are an artist, you can jump in on a cypher, perform a song live, or just hang out and enjoy the live radio show at the station. All are welcome!
We broadcast out of UCC (Student Centre) at Western University in London, Ontario, Canada.
We kick off the broadcast at 12:00 midnight on Monday and will party for a few hours at the station. We may stay on air for an extended period of time and not sign off at 2:00 a.m. like usual. So come party with us till early Tuesday morning.
It’s going to be a lot of fun and completely live, so anything could happen. We have a lot of rappers coming through the station, a few guest DJs, and even a very special hip-hop legend who will be joining us via the phone lines.
We will even have a few giveaways. Please call in 519-661-3600 when we are on the air!
That record right there is the source of inspiration for dozens and dozens of rap songs. In fact, it has even been sampled in rock songs, pop songs, television commercials, and pretty much everywhere you hear music.
Within the first twenty seconds of the song, I was able to pick up two different sources where I’d originally heard these sounds. About a minute or so into the track, I heard another rap song and started rapping along to the beat. Maybe you didn’t place any of these songs, but even so, I bet you recognized when the drum break kicked in. That’s the part of the song where all of the instruments fade away except for the drums. It’s not a drum solo as the drummer holds the beat and plays a very specific pattern. But it is where hip-hop originated from, the break, or breakbeat, or as Kurtis Blow would say, “The Breaks”
Back in the day, deejays discovered that people really liked dancing to the breaks in the song. As such, they would use two record players playing the same record and alternate between the two so they could effectively lengthen the drum break. This was done by creative and innovative musicians well before samplers had even been invented.
That is why we give so much props to the DJ in hip-hop culture. Without the Dj, we wouldn’t have hip-hop, simple as that.
Recently, hip-hop producers have moved away from sampling. It gets rather expensive to get permission to use sounds from old records. Producers and labels basically have to buy the rights to use even the smallest portion of an existing song. Many rap acts have been sued over the use of a sample, some artists don’t like their music being sampled at all, while others charge ridiculous amounts to let someone have access to those sounds.
Sampling is a big part of hip-hop. I love hearing a sample with that dusty record feel to it. I love the way certain producers can layer sound on top of sound to create a sonic masterpiece. Sample-driven hip-hop might be harder to come by these days due to all the legal ramifications of using someone else’s original composition to craft something new. But, fortunately, that doesn’t stop some people from sampling.
Let’s get back to the sample we will be focusing our entire show on today. It’s from a group called The Soul Searchers, what a great name. The song is called ‘Ashley’s Roachclip’ and if you’re an old school head like me, you probably recognized that the very first bars of this song were sampled to created this posse cut twenty years later. This is Nice and Smooth “Down the Line” from the album “Ain’t a Damn Thing Changed” released in 1991. This is Chase March for Know Your History and we will continue to explore this famous sample right after this example.
That was Nice and Smooth “Down the Line” and it featured Bass Blaster, Asu, the late great Guru of Gangstarr, Melo T, and Preacher Earl. What a great posse cut. I love the way they pass the mic down the line. It is also really cool to see how they used a record that had been sampled several times before by taking a different portion of it to craft the backdrop. That’s right, they didn’t simply use the break of the original record. In fact, you can hear several samples layered on top of each other there. What a creative way to use a sample.
My favourite group of all-time also used “Ashley’s Roachclip” to craft the classic “Run’s House.” In fact when I first came across this song and I heard those familiar horns, I did a beatbox scratch and said, “Say What?”
Did you do the same thing when I first played the sample at the start of the show? If so, then you are my people.
If not, let’s hear how Run-DMC sampled the song for their hit in 1988, a few years earlier than the last rap record I spun for you. This is “Run’s House” by Run-DMC off of the record “Tougher than Leather.”
I still have a few more rap groups and songs I want to share with you that utilized that great song “Ashley’s Roachclip.” I have no idea what that title means, who Ashley is, or what the original song is about but I can tell you one thing. As of right now, this is Run’s House. This is Chase March for Know Your History, let’s explore this example and look more at the sample right after.
That was Run-DMC “Run’s House” and once again, they didn’t simply use the break of “Ashley’s Roachclip” as the main drum pattern for the song. They actually used a few different samples in this song, including James Brown’s “The Funky Drummer”, which I would like to spend an entire show focusing on in the near future. They sampled one of their own songs from the previous record, as well as one from Doug E Fresh and Slick Rick.
Run-DMC is my all-time favourite rap group. I love the multi-syllable rhymes, the way they trade vocals back and forth, the hard hitting beats, and of course, how they incorporate samples into their music.
I want to play a song for you right now that you might not be familiar with. It’s from an independent rap group from Nova Scotia, Canada. They put out a great album in 1994 entitled “Trailer Park Hip-Hop.” This is a track that utilizes a portion of The Soul Searchers song we’ve been discussing all day in a way that I haven’t heard anyone else use it. Of course, I could be wrong. Perhaps some other groups has sampled the same portion of the record, perhaps not. Either way, this is a great song and a great use of the sample.
This is “Trip to Reality” by Hip Club Groove. We haven’t even touched on the most famous record to use “Ashley’s Roachclip” yet, but we will right after this. Stay tuned as we continue to explore this famously sampled record for this edition of Know Your History.
That was “Trip to Reality” by Hip Club Groove and if you listen close, they let us know where the sample they are using came from, “I’m soul searching, yeah I’m searching for my soul ‘cause I keep falling into this black, mother-f*&king hole.”
That’s very cool. After all, they sampled The Soul Searchers “Ashley’s Roachclip” and they are acknowledging that. Rappers often shed light on classic records that listeners otherwise wouldn’t have been exposed to.
I know I am always amazed when I’m in a mall or a restaurant and I hear an original record being played softly over the P.A.
But of course, we haven’t talked about the famous drum break from this record yet. If you are just tuning in, we’ve been focusing our entire show today on one record, “Ashley’s Roachclip” by the Soul Searchers.
We have to close off the show with the most famous record to sample “Ashley’s Roachclip.” That would be Eric B and Rakim’s “Paid in Full.” They use the drum beat quite effectively here. It’s been used in a lot of other songs such as MARRS “Pump Up the Volume,” but that was after Eric B and Rakim first flipped the sample.
This is the most famous example. Hopefully you know it, if you don’t, get familiar. Eric B and Rakim are definitely one of the best rap groups ever.