FMAM CRESCENDO APRESENTA ‘AESTHETIC SOUL’ PODCAST (PARTE 1)
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No primeiro episódio do podcast ‘Aesthetic Soul’, contaremos a incrível história dos Breakbeats a partir da segunda metade da década de oitenta através de um repertório de faixas dos anos sessenta e setenta cujos Drum Breaks revolucionaram a música de 1986 em diante, incluindo Hip Hop, Hardcore Techno, Jungle, Drum n’ Bass, entre outros gêneros de Breakbeats.
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A revolução aconteceu em duas partes principais, a saber: o Hip Hop da segunda metade da década de oitenta, transformado a partir de dois eventos fundamentais que aconteceram em paralelo – o lançamento da série de coletâneas Ultimate Breaks & Beats pelo selo do Bronx Street Beat Records, e a popularização de equipamentos como Samplers e Emuladores (a exemplo do Emu SP 1200) que tornaram possível a prática de sampling de breaks dos originais destas coletâneas. Dali pra frente, as faixas de Hip Hop deixariam de usar apenas baterias eletrônicas sequenciadas e em passariam a fazer uso crescente de samples de baterias reais, a maioria de bandas de Soul e Funk de uma a duas décadas antes.
Um dos Samplers divisores de águas: EMU SP 1200
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O segundo capítulo aconteceu em 1989, ano em que o projeto de Hip Hop Success – N – Effect lançou a faixa ‘Roll It Up (Remix) (Bass Kickin’ Beats)’, cujos beats, sampleados do clássico The Winstons – Amen, Brother’ e já conhecidos graças ao hit “King Of The Beats” do Mantronix, de um ano antes, podiam ser tocados bem acelerados, portanto em sets de Hardcore Techno e Breakbeats. Levado pelo DJ Frankie Bones em sua primeira viagem à Inglaterra em 1989, a faixa se tornou seu sucesso imediato e se tornou um standard para a geração de produtores e ouvintes do nascente Hardcore. Meses após, Bones lançou no seu Bonesbreaks Volume 5 a faixa “Janet’s Revenge”, a sua versão do Amen Break acelerado, gesto copiado por Carl Cox em seu single promo “Let The Bass Kick” (1991). Naquele mesmo período, 4 Hero, Sonz Of A Loop Da Loop Era, The Prodigy, Altern 8, entre outros brilhantes artistas, revolucionariam a história do Techno com o Hardcore, cuja evolução traria o nascimento do Jungle e o Drum n’ Bass.
Bom podcast.
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FMAM Crescendo Presents ‘Aesthetic Soul Part I’
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Link to Download (enjoy while you read the text!)
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On a unique podcast, the Brazilian journalist Alain Patrick tells about the amazing story of Breakbeats with a repertory of original Drum Breaks that were sampled by so many genres such as Hip Hop, Breakbeats, Hardcore Techno, Hip House, Jungle, Drum n’ Bass, among others since the mid eighties.
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The Hip Hop Beat Revolution
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In 1986, the Bronx based label Street Beat Records starts a sery of compilations called Ultimate Breaks & Beats months before samplers & emulators such as Emu SP 1200 hits the market about mid 1987. The combination between these two realities caused an unparalleled revolution on the history of dance music, affecting an incredible amount of genres, from Hip Hop to Hardcore Techno, Jungle, Drum n’ Bass, among others forms of Breakbeats, including other styles as well that did not have a direct dependance on beats sampling.
Ultimate Breaks & Beats, The Compilation Series That Changed The World Of Music
The first edition from 1986 included diamonds from artists such as The Winstons and Rufus Thomas. Curiously, the tune choosen from the Soul band The Winstons was a fourty-five seven inch B side called “Amen, Brother“, one of the most influential songs that have ever been recorded. Its Drum Breaks, later baptized at ‘Amen Break’ changed the history of music, and its first major sampling example took place in 1988 when Mantronix released the “King Of The Beats”.
Kurtis Mantronik never imagined that his “King Of The Beats” hit would achieve not only the title of Hip Hop quintessential tune, but also the status of Amen Break sample-based first standard. The tune had a magnificent collage of quintessential breakbeats samples from ‘The Winstons – Amen, Brother’ s beats on the start to “Same Old Thing” by The Meters, “Scratchin’” by The Magic Disco Machine and the beats of Bob James – Take Me To The Mardi Gras’ (1975) on the second half of the tune.
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The result was a total devastation on the dancefloors that influenced an incredible amount of producers since then: “Take Me To The Mardi Gras” beats, for example, started to be used since then as a basic ouverture on many Hip Hop contests, and the Amen Breaks became known to a whole new generation of producers and listeners, some of which would use them on countless of Hip Hop, Breakbeats, Hardcore Techno, Jungle & Drum n’ Bass tunes).
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The Ultimate Breaks & Beats continued to cause a massive and definitive impact on the Hip Hop World with the substitution of pre-1987 electronic drum machines by original drum solos sampling from all the Soul-Funk originals included on those compilations, settling a pattern of others genres on the nineties. Street Beat Records deserves the credits for that.
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Clyde Stubblefield & John Jabo Starks, heavily sampled drummers from the J.B’s Era
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The Raise Of Hardcore Techno, Jungle & Drum n’ Bass
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Only one year after, Success – N – Effect released an obscure twelve inch that would become through the hands of DJs such as Frankie Bones a definitive blueprint for the U.K. Hardcore generation, and later Jungle & Drum n’ Bass: “Roll It Up (Remix) (Bass Kickin Beats)” came out as a first tune ever to use accelerate Amen Breaks played for Techno & Hardcore Techno crowds when DJ Frankie Bones did his first gigs on the United Kingdom back in 1989.
Bones declared: “For the first 6 months of my arrival to the U.K. back in the later months of 1989, this was my most treasured track, the one people would remember me for. The vocal “Let The Bass Kick” followed by The Winstons “Amen Brother” breakbeat with a sub 808 that was deadly. Felix Sama’s edit work was effective on this chopping Big Daddy Kane’s Vocal “Let It Roll” (made popular by Doug Lazy) into little bits before crashing into that 808/breakbeat again. Carl Cox would get his copy from Lenny Dee in Feb. 1990 and went and did a white label remix which would result in his ink with Perfecto Records for “I Want U (Forever). After that it became the template for the young U.K. youth who began to experiment in the studio. The end result being Jungle and Drum & Bass. This record was the prototype.”
Some months after, he released on his Bonesbreaks Volume 5 the track “Janet’s Revenge” (199) which was his version of accelerated Amen Breaks, something that Carl Cox did as well later in his single promo “Let The Bass Kick” (1991).
The original Drum Breaks that is behind the history of Hardcore Techno, Jungle & Drum n’ Bass: “Amen, Brother” (1969)
From 1989 on, there was a natural explosion of Breakbeat productions coming from everywhere using original Drum Breaks, such as Frankie Bones himself, as well as Shut Up & Dance, The Prodigy, Altern 8, 2 Bad Mice, Inner City, Sonz Of A Loop Da Loop Era, DJ Hype, LTJ Bukem, 4 Hero, among hundreds of others. Suddenly, the history of Hardcore Techno, Drum n’ Bass and other Breakbeats was written.
Enjoy the listening.
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Links:
Enciclopédia Musical: Gilles Peterson
Gilles Peterson, arauto do ecletismo musical e fundador da Talking Loud
Ziriguidrum No Audio Delicatessen: Fila Se Prolongou Na Quadra 
Ele não está para brincadeira: Arne Weinberg
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