WEBVTT - How Music Sampling Works 0:00:00.280 --> 0:00:02.840 Brought to you by the reinvented two thousand twelve camera. 0:00:03.160 --> 0:00:07.360 It's ready. Are you welcome to you Stuff you Should 0:00:07.400 --> 0:00:14.640 Know from House Stuff works dot com. This podcast is 0:00:14.680 --> 0:00:17.400 brought to you by Audible dot com, the Internet's leading 0:00:17.400 --> 0:00:20.360 provider of audio books, with more than one hundred thousand 0:00:20.400 --> 0:00:24.040 downloadable titles across all types of literature. First Stuff you 0:00:24.040 --> 0:00:27.200 Should Know listeners, Audible is offering a free audio book 0:00:27.400 --> 0:00:29.400 to give you a chance to try out their service. 0:00:30.360 --> 0:00:34.160 One audiobook to consider is Consider the Lobster by David 0:00:34.159 --> 0:00:37.600 Foster Wallace. Consider the Lobster as a collection of four 0:00:37.640 --> 0:00:41.320 of Wallace's best essays and is available from Audible. To 0:00:41.400 --> 0:00:44.360 try Audible free today and get a free audiobook of 0:00:44.400 --> 0:00:48.519 your choice, go to audible podcast dot com slash stuff. 0:00:49.120 --> 0:00:55.240 That's Audible podcast dot com slash stuff. Hey, and welcome 0:00:55.280 --> 0:00:57.960 to the podcast. I'm Josh Clark with me as always 0:00:57.960 --> 0:01:01.760 as Charles W. Chuck Bryant, and that makes this the 0:01:01.800 --> 0:01:06.800 super sample version of Stuff you Should Know, The super 0:01:06.800 --> 0:01:11.160 Stuff Guide to Sampling. Could that be an audiobook? Let's try. 0:01:11.280 --> 0:01:12.720 As a matter of fact, if you're listening to this 0:01:12.840 --> 0:01:16.399 right now, just you owe us a dollar. Mail it 0:01:16.440 --> 0:01:21.800 in Yeah, mail it into thirty three fifty Peachtree Road, 0:01:22.400 --> 0:01:25.959 Atlanta and Georgia. Carrot up Josh Clark three oh three 0:01:26.000 --> 0:01:32.640 one three two six s Okay, alright, with that done, 0:01:32.680 --> 0:01:37.240 we can continue on with the podcast. You know what 0:01:37.319 --> 0:01:39.440 we should have gotten really creative and just like sampled 0:01:39.600 --> 0:01:44.400 old podcasts and put them together in two How, Jerry, 0:01:44.400 --> 0:01:48.400 do you feel like doing that? Nod A mash up? 0:01:48.480 --> 0:01:50.520 That's what they call that. Sure, that's what the kids 0:01:50.600 --> 0:01:53.240 call it these days. Yeah, no, we'll just do it 0:01:53.360 --> 0:01:56.480 straight instead boring and guess is what you call it. 0:01:56.760 --> 0:02:01.640 I have an intro. Have you heard chuck of a 0:02:01.720 --> 0:02:08.400 man named Arman Balladian? Arm Intansarian? Nope, no, I have 0:02:08.480 --> 0:02:11.880 not done. Armin Balladian is the owner and sole employee 0:02:11.880 --> 0:02:15.720 of a company called Bridgeport, now I have. Bridgeport is 0:02:15.760 --> 0:02:20.600 a music catalog company, um and like many other music 0:02:20.600 --> 0:02:23.520 catalog companies, they basically just sit on a lot of 0:02:23.639 --> 0:02:28.200 copyrights to popular songs the musical composition of those songs. Right, 0:02:28.320 --> 0:02:32.359 it's almost like owning stock, Yes, like you buy stock 0:02:32.400 --> 0:02:35.160 in these musics and wait for them to be worth something. Sure, 0:02:35.800 --> 0:02:41.280 or you can allegedly shadily get your hands on already 0:02:41.360 --> 0:02:46.320 valuable music. Sure, and then do what Bridgeport did, which 0:02:46.400 --> 0:02:51.160 is uh, start suing anyone and everyone whoever sampled it. 0:02:52.120 --> 0:02:55.040 Um So. Bridgeport made a big flap in two thousand 0:02:55.160 --> 0:02:59.880 five when they m sued Jay Z for his song 0:03:00.120 --> 0:03:03.800 Justify My Thug. Yeah, I want to go ahead and 0:03:04.120 --> 0:03:07.480 add a disclaimer here. I am far too square to 0:03:07.560 --> 0:03:11.000 talk seriously about hip hop, Like I'm really into elevator 0:03:11.080 --> 0:03:15.480 music right now, seriously. Um So, when I say things 0:03:15.520 --> 0:03:20.959 like justify my Thug or jay Z or breaks, I'm 0:03:21.040 --> 0:03:26.160 speaking strictly as an outside observer, an interested outside observer. 0:03:26.320 --> 0:03:29.800 But I'm not. I'm not from the streets. So like 0:03:31.639 --> 0:03:35.200 I was, I was down, as they say, from like 0:03:36.760 --> 0:03:40.080 seven to nine five ish. That was those were my 0:03:40.080 --> 0:03:43.520 big hip hop years and then but these days you 0:03:43.560 --> 0:03:45.920 say jay Z, and I know that's the that's the 0:03:46.000 --> 0:03:50.280 handsome man. Mary did that, pretty lady, Okay, So I'm 0:03:50.320 --> 0:03:52.800 not done with the new stuff. We had a similar trajectory, 0:03:53.000 --> 0:03:54.800 except I used to be into it and it sounds 0:03:54.840 --> 0:03:57.480 like you never were. Right. What in the name of 0:03:57.520 --> 0:04:04.440 God is a waka flaca? You know? Yes? Alright? So anyway, 0:04:04.720 --> 0:04:08.080 Bridgeport sue jay Z for sampling Madonna's justifying My Love. 0:04:08.200 --> 0:04:11.480 Somehow Bridgeport got his hands on the copyright to Justify 0:04:11.600 --> 0:04:15.360 My Love. It's a pretty big song. And when jay 0:04:15.440 --> 0:04:17.880 Z sampled that, they sued him. Now this guy runs 0:04:17.880 --> 0:04:23.240 around suing everybody. Apparently had like seven hundred lawsuits against 0:04:23.640 --> 0:04:27.640 just people who sample George Clinton's work, and big Attorney spees, 0:04:27.720 --> 0:04:30.720 right there it is and but when it pays off, 0:04:30.760 --> 0:04:32.880 it pays off. So this guy has come to be 0:04:32.920 --> 0:04:35.640 known at Bridgeport. People like him have come to be 0:04:35.720 --> 0:04:39.440 nowhere called sample trolls. Remember patent trolls when I gave 0:04:39.520 --> 0:04:43.640 like the absolute wrong definition of that. Well, uh, sample 0:04:43.680 --> 0:04:46.160 troll is somebody who just buys up songs, hangs out 0:04:46.240 --> 0:04:48.919 of the copyrights, and then suits people who's sampling without asking. 0:04:49.600 --> 0:04:52.560 On the one hand, you can make a case that, well, 0:04:52.720 --> 0:04:56.080 these people are breaking copyright lost by not asking and 0:04:56.120 --> 0:04:59.640 getting permission to use samples of this. On the other hand, 0:05:00.240 --> 0:05:04.000 Bridgeport has made it their aim to sue anybody who 0:05:04.080 --> 0:05:06.120 sampled it at all, even if they've taken the work 0:05:06.200 --> 0:05:10.560 and made it unrecognizable, right, which that kind of a 0:05:10.560 --> 0:05:12.160 lot of people around the other side of the aisle 0:05:12.200 --> 0:05:16.640 going like that's ridiculous. That stifles creativity. This is just 0:05:17.120 --> 0:05:22.880 one of the many interesting aspects of music sampling. Wow, 0:05:23.760 --> 0:05:26.760 that was a proper intro. It's been a while, um, 0:05:26.839 --> 0:05:29.640 and that's one, but it's probably the biggest as far 0:05:29.680 --> 0:05:34.200 as uh, what people think about how music is used 0:05:34.279 --> 0:05:38.599 in creativity and ownership. And one of the things that 0:05:38.640 --> 0:05:41.240 you just mentioned was Bridgepoort is some big corporation. And 0:05:41.640 --> 0:05:46.560 if you talk to like Hank Shockley, the former producer 0:05:46.560 --> 0:05:50.039 of Public Enemy, he will say that, you know, we 0:05:50.120 --> 0:05:52.640 don't have any problems paying music to artists who created 0:05:52.640 --> 0:05:55.040 the stuff, he said, but they're about these corporations now, 0:05:55.080 --> 0:05:58.920 and it's just it's greed on their part. Yes, it's 0:05:58.960 --> 0:06:01.480 just not There are two sides to every story now, 0:06:01.800 --> 0:06:06.240 and um, the music industry, as we'll see, kind of 0:06:06.240 --> 0:06:09.680 went on a tear of like suing everybody and protecting themselves, 0:06:09.720 --> 0:06:12.800 and um, now you kind of understand, like, oh, that's 0:06:12.800 --> 0:06:16.080 why no one feels bad about this whole music piracy thing. Well, 0:06:16.160 --> 0:06:18.800 there was a big rush at one point because it 0:06:18.920 --> 0:06:21.640 was a new genre. I mean, we'll get into the 0:06:21.680 --> 0:06:23.360 history of how it came to be in all, but 0:06:23.640 --> 0:06:24.880 it was a new thing and so all of a 0:06:24.880 --> 0:06:28.040 sudden you know, for the first you know, several years 0:06:28.279 --> 0:06:31.320 that was open territory and that's when like that, that 0:06:31.360 --> 0:06:34.040 was the heyday if you ask me, Well, folks nerdier 0:06:34.040 --> 0:06:36.480 than us might be confused at this point because UM 0:06:36.480 --> 0:06:42.239 sampling also refers to digitizing music. Uh. What we're talking 0:06:42.279 --> 0:06:47.200 about is taking a piece of an already established UM 0:06:47.400 --> 0:06:50.520 piece of music, right, a selection of it, and then 0:06:50.960 --> 0:06:55.000 recreating it using it, put maybe putting it back to 0:06:55.040 --> 0:06:59.080 back to back in a loop sometimes um oftentimes actually 0:06:59.160 --> 0:07:02.920 and then creating something new using this. Yeah right, yeah, 0:07:03.520 --> 0:07:06.000 so that's what we're talking about with music sampling, all right. 0:07:06.800 --> 0:07:10.320 It's been around for a while too. Yeah. Uh, well, 0:07:10.360 --> 0:07:13.600 you mentioned UM taking a snippet. Let's go ahead and 0:07:13.640 --> 0:07:15.880 just get a couple of examples out there. If we 0:07:15.960 --> 0:07:18.520 want to start out with trying to explain to people 0:07:18.520 --> 0:07:20.880 what a sample is, and as people know this, there 0:07:20.880 --> 0:07:25.280 are no further places to look. Then James Brown's uh 0:07:26.240 --> 0:07:29.640 V song Funky Drummer. Let's go ahead and hear that 0:07:29.640 --> 0:07:32.000 that little break beat. Oh it's like that huh yeah, 0:07:41.240 --> 0:07:44.840 all right, so that's instantly recognizable. So that's funky drummer. 0:07:44.960 --> 0:07:48.560 That's funky drummer, And that was who was the drummer there, 0:07:49.320 --> 0:07:53.239 Clyde stubble Field. Yes, Clyde stubble Field, who has never 0:07:53.280 --> 0:07:56.560 gotten a sent no, but he's pretty cool man. He 0:07:56.760 --> 0:07:59.920 is not trying to see anybody's not seeking anything any 0:08:00.120 --> 0:08:04.400 damage from And this literally thousands of songs have used 0:08:04.440 --> 0:08:07.760 that drum break right, Yeah, James Brown has been sampled 0:08:07.840 --> 0:08:09.560 and this is not just that song, but a lot 0:08:09.600 --> 0:08:13.600 of it comes from Funky Drummer two thousand seven times. Okay, 0:08:13.720 --> 0:08:16.040 so um the leader, and you can make a case 0:08:16.080 --> 0:08:18.560 that Funky Drummer provided the basis for hip hop. Like 0:08:18.720 --> 0:08:21.680 all early hip hop songs, especially in like the mid 0:08:21.720 --> 0:08:25.760 to late eighties, all used that drum brake, right, Um, 0:08:25.920 --> 0:08:28.960 stubble Fields not going after anybody for that. But what 0:08:29.000 --> 0:08:31.680 he did was get together with some documentarians who made 0:08:31.720 --> 0:08:36.040 something called Copyright Criminals, a documentary called Copyright Criminals to 0:08:36.120 --> 0:08:39.280 release a special version of the DVD that has all 0:08:39.360 --> 0:08:43.400 new ready to sample Clyde stubble Field drum brakes that 0:08:43.440 --> 0:08:45.439 he created just for this and if you want to 0:08:45.520 --> 0:08:48.520 use them, he's give him like fifteen of your of 0:08:48.600 --> 0:08:51.800 your sales. So he's like doing it. He's trying out 0:08:51.800 --> 0:08:54.720 a different model. Well. On the other side to which 0:08:54.720 --> 0:08:56.760 we haven't mentioned is is and this is a point 0:08:56.760 --> 0:08:58.439 that a lot of the hip hop producers would make, 0:08:58.520 --> 0:09:01.920 is that some of these people are being pulled from obscurity. 0:09:02.679 --> 0:09:05.560 For instance, the second clip we're gonna play, which is 0:09:05.600 --> 0:09:08.920 the Amen break from Amen Brother and it was a 0:09:09.000 --> 0:09:12.640 B side from a very little known song from a 0:09:12.679 --> 0:09:16.000 group called the Winston's We can hear this one, do yes, 0:09:16.080 --> 0:09:28.560 and We'll hear that right now. So that one, to 0:09:28.640 --> 0:09:32.440 me is slightly better than Funky Drummer. So that's the 0:09:32.520 --> 0:09:34.760 A member that's the Amen break, and do that one 0:09:34.760 --> 0:09:39.040 has been sampled thousands of times, so that one UM 0:09:39.240 --> 0:09:43.320 gave birth to UM drum and based in jungle, like 0:09:44.120 --> 0:09:50.280 all all jungle music is based on the deconstruction of 0:09:50.320 --> 0:09:53.280 the Amen break. If you're interested in hearing about there's 0:09:53.280 --> 0:09:56.360 a really cool movie like a video. It's like eighteen 0:09:56.400 --> 0:09:59.559 minutes long. It's a YouTube video and the title is 0:09:59.679 --> 0:10:02.920 video explains the world's most important six second drum loop. 0:10:03.600 --> 0:10:07.120 So it gave rise to jungle. UM n W a 0:10:07.200 --> 0:10:11.520 straight out of Compton used that. Uh, Cold Cut used it, 0:10:12.320 --> 0:10:16.680 UM and Third Base famously used it as well, and 0:10:16.840 --> 0:10:19.360 hundreds of others. Yeah, I like their base, and that 0:10:19.400 --> 0:10:20.800 was because we want to give due to some of 0:10:20.800 --> 0:10:24.720 these folks who created this stuff. That was Gregory Sylvester Coleman, 0:10:24.760 --> 0:10:27.320 who was the actual drummer that played that lick, and 0:10:27.360 --> 0:10:32.320 that was the Winston's. Yeah, the Winston's excellent Gregory Sylvester Coleman. 0:10:32.480 --> 0:10:35.000 So yeah, I think what you're originally saying is some 0:10:35.040 --> 0:10:39.520 producers are saying, like you ever heard of Gregory Coleman? Yeah, exactly, 0:10:39.600 --> 0:10:41.600 So They're they're bringing some of these folks out of 0:10:41.600 --> 0:10:45.280 obscurity and giving them their due, and I'm sure selling 0:10:45.320 --> 0:10:48.320 some records for him here there. So although that record 0:10:48.360 --> 0:10:50.360 is really hard to find, obviously, well they need to 0:10:50.440 --> 0:10:54.160 press it again, maybe they should. Okay, Uh so you 0:10:54.240 --> 0:10:57.440 take an l O cool j Ladies love Cool James 0:10:57.600 --> 0:11:00.240 for instance. Is that what l else stands for? Yeah? 0:11:00.240 --> 0:11:03.080 You never knew that. Yeah, you even listen to him extensively. 0:11:03.080 --> 0:11:05.360 He was James something, and you know the ladies love 0:11:05.400 --> 0:11:09.960 Cool James or EOS cool Jake Cookies. I'm bad see 0:11:10.040 --> 0:11:12.559 you know, no, I did know. I've just fallen off 0:11:12.640 --> 0:11:16.080 like you. Okay, Um, so you take the funky drummer 0:11:16.400 --> 0:11:19.800 from James Brown song, and you take uh Slying the 0:11:19.800 --> 0:11:23.840 Family Stones, Trip to Your Heart the the background vocals, 0:11:24.360 --> 0:11:26.680 and then basically you loop those over and over and 0:11:26.720 --> 0:11:28.839 over and you have a little song called Mama said, 0:11:28.920 --> 0:11:31.280 Knock you Out. We're about to hear that, well, we're 0:11:31.280 --> 0:11:33.880 gonna hear him separately. Obviously we already played the Funky Drummer, 0:11:33.920 --> 0:11:36.120 and now this is uh the Trip to your Heart 0:11:36.240 --> 0:11:39.520 backing vocals from Slying the Family Stone whom I love. 0:11:49.320 --> 0:11:51.800 All right, So that's it, dude, over and over and 0:11:51.840 --> 0:11:56.000 over with ladies love cool James rapping, and you've got 0:11:56.040 --> 0:11:59.199 a huge, huge hit. Yeah, oh that was a big one. 0:11:59.320 --> 0:12:01.800 Oh yeah huge. I wasn't a big local jag though. 0:12:03.280 --> 0:12:05.480 I like the one I don't remember it's called. But 0:12:05.520 --> 0:12:08.240 it had like the boom box on the cover of 0:12:08.360 --> 0:12:12.120 the tape, like the album artwork was a boom box. 0:12:12.320 --> 0:12:16.920 Yeah that was good. It had I'm bad on Okay. Um, 0:12:16.920 --> 0:12:20.600 it's not always songs that you're sampling. Uh. Sometimes you're 0:12:20.640 --> 0:12:22.720 sampling stuff from like a TV show or a movie, 0:12:23.600 --> 0:12:27.720 or like the Living Color song called the Personality. Remember that? 0:12:28.120 --> 0:12:30.679 Oh yeah, they had like an FDR speech I think 0:12:30.679 --> 0:12:34.880 it was. Kennedy was FDR had Kennedy took but that 0:12:34.880 --> 0:12:37.720 that was Kennedy, but he said the only thing we 0:12:37.760 --> 0:12:41.280 have to fear is fear itself. Yeah, uh, doubting Thomas. 0:12:41.360 --> 0:12:45.000 They were like a skinny puppy off shoot. They exampled UM. 0:12:45.040 --> 0:12:49.400 I think the Day the Earth Stood Still UM extensively 0:12:49.480 --> 0:12:52.480 throughout this one album that they created. It was pretty good. 0:12:52.559 --> 0:12:55.280 Well and guns and Roses on their song Civil War, 0:12:55.600 --> 0:12:57.400 remember at the beginning of that they played the cool 0:12:57.440 --> 0:13:02.280 hand Luke bit uh over the you know, guitar, and 0:13:02.280 --> 0:13:06.800 then Axel's Weasley Little Boys comes through. Oh and Metallica 0:13:06.920 --> 0:13:09.559 is one oh yeah, yeah sample Johnny got his gun. 0:13:09.640 --> 0:13:11.920 That's right in the video too, Right, So those are 0:13:11.960 --> 0:13:14.080 all samples. You might just think, oh, that's a snippet 0:13:14.080 --> 0:13:15.840 from a movie, but it's a sample, just like you 0:13:15.840 --> 0:13:21.760 would use uh the amen breake. Okay. Um. The first sampler, 0:13:21.880 --> 0:13:23.440 if you want to go back in time a bit 0:13:24.320 --> 0:13:28.960 um was the melotron. Yeah, the actual not not the person, 0:13:29.040 --> 0:13:34.160 but the machine that someone used that was created for sampling, right, Yeah, 0:13:34.200 --> 0:13:36.199 I mean it was. It was the first time that 0:13:36.240 --> 0:13:39.120 they had ever. You know, it's basically a little keyboard. 0:13:39.240 --> 0:13:41.720 They're very basic. I wish I had one. They're really sweet, 0:13:42.120 --> 0:13:44.400 and it has a volume, a tone, and a pitch 0:13:44.440 --> 0:13:47.320 control a low and high octave you can switch between. 0:13:47.480 --> 0:13:53.760 And then three samples um uh, A, B and C flutes, violence, 0:13:53.800 --> 0:13:57.640 and cello. And it was the first time that they 0:13:58.400 --> 0:14:00.880 basically it ever sampled anything like that. So you press 0:14:00.960 --> 0:14:05.960 the keyboard key and it plays back a prerecorded loop 0:14:06.120 --> 0:14:08.439 of a single note of that single note on a flute, 0:14:08.520 --> 0:14:11.000 let's say, which seems you know, you take that for 0:14:11.000 --> 0:14:12.800 granted now when you buy these keyboard where you can 0:14:12.800 --> 0:14:15.920 do a million different things. But back then, the melotron 0:14:16.040 --> 0:14:19.160 was huge. Oh yeah. And even before that, people would 0:14:19.200 --> 0:14:22.960 take magnetic tapes like real real tapes and and literally 0:14:23.040 --> 0:14:27.120 cut and splice them to create their own samples. Well, 0:14:27.160 --> 0:14:30.440 and if you want to hear a classic example of 0:14:30.480 --> 0:14:34.880 the melotron, flute and uh, listen to this little clip 0:14:35.000 --> 0:14:49.680 right here, is it? Aqual no? Ready, aqualung no. That 0:14:49.800 --> 0:14:52.280 was the intro for the Beatles Strawberry Fields. And that 0:14:52.360 --> 0:14:57.080 was Paul McCartney playing the flute sample of the melotron 0:14:57.200 --> 0:15:00.280 on the melotron. I always thought it was just lutes 0:15:00.560 --> 0:15:03.120 and then like King Crimson and yes and Genesis like 0:15:03.160 --> 0:15:06.680 they went crazy with the melotron. Yeah, Genesis was awesome 0:15:06.720 --> 0:15:12.000 early on, awesome, but in a different way, you know, yeah, 0:15:12.160 --> 0:15:16.920 a very different way. Okay, So you talked about the 0:15:17.000 --> 0:15:20.360 origins with the tape splicing. Yeah, yeah, I mean you 0:15:20.920 --> 0:15:23.720 you can go back even further than the melotron. It 0:15:23.760 --> 0:15:28.360 was at the sixties. Yes, there were these two dudes. 0:15:28.880 --> 0:15:32.920 They were the two Piers I call them, um, Pierre 0:15:32.920 --> 0:15:37.400 Schaeffer and Pierre Henry, but probably Pierre amri Um. And 0:15:37.480 --> 0:15:39.680 they were I guess what you would call a couple 0:15:39.880 --> 0:15:43.040 of um avant garde musical artists, and they created what's 0:15:43.040 --> 0:15:46.320 called music concrete spreaky stuff. Did you hear any of it? Yeah? 0:15:46.320 --> 0:15:49.680 I did. There's UM again, the YouTube factors in heavily 0:15:49.800 --> 0:15:52.560 in this episode. UM. If you want to find out 0:15:52.560 --> 0:15:55.440 a little bit about music concrete, UM, check out the 0:15:55.520 --> 0:15:59.920 nineteen BBC documentary The New Sound of Music. That is 0:16:00.120 --> 0:16:03.480 very awesome. Actually, yeah, that guy was a really great 0:16:03.480 --> 0:16:08.200 host down so he talks about musique concrete where it's 0:16:08.200 --> 0:16:11.360 basically like these people before they were tape recorders. Even 0:16:11.840 --> 0:16:13.080 I don't know how they were doing this, I guess 0:16:13.160 --> 0:16:17.440 real the real and then these guys were doing splicing. Um, 0:16:17.480 --> 0:16:20.680 they would record the sound of a can falling or 0:16:20.720 --> 0:16:23.600 the sound of a metronome or you know, a piece 0:16:23.600 --> 0:16:26.000 of music off of you know, the radio, and then 0:16:26.000 --> 0:16:28.600 they would splice it all together into something that's like 0:16:28.680 --> 0:16:33.920 barely listenable. But it was. It was electronically reproduced music, 0:16:34.480 --> 0:16:38.000 and it formed the basis of everything that came after 0:16:38.040 --> 0:16:40.560 it that had anything to do with electronic from like 0:16:40.600 --> 0:16:45.560 Pink Floyd to all electronic music, to the Residents to 0:16:45.720 --> 0:16:50.040 Silver Apples, to all these people who craft work who 0:16:50.240 --> 0:16:54.520 created electronic music. It's all based on this, these two 0:16:54.520 --> 0:16:58.680 guys creating this in or something like that. Did you 0:16:58.720 --> 0:17:00.640 see the part of the video where they took the 0:17:00.640 --> 0:17:03.680 tape by hand and we're dragging it through. That ended 0:17:03.760 --> 0:17:06.200 up sounding like and I think was sort of the 0:17:06.280 --> 0:17:09.600 origins of record scratching. That's what it sounded like to 0:17:09.640 --> 0:17:11.320 me as well. Of course it was produced back in 0:17:11.359 --> 0:17:14.280 the day, so they didn't say it was before record scratching. 0:17:14.359 --> 0:17:17.239 This is about this. Actually it was coming out at 0:17:17.240 --> 0:17:19.960 the same time, So that was nine nine, and that's 0:17:19.960 --> 0:17:24.480 been like DJ Cool Hirk and Grandmaster Flash. We're starting 0:17:24.480 --> 0:17:27.960 to get really good. They were playing high school, so 0:17:28.040 --> 0:17:32.360 people were taking notice. That is true. So jumping back 0:17:32.400 --> 0:17:37.040 again in nine, James Tenney uh took Blue Swede shoes 0:17:37.160 --> 0:17:40.440 from Elvis Presley and have you heard this thing? Yeah? 0:17:41.119 --> 0:17:43.520 It's very avant garde, is the way to put it. Yeah, 0:17:43.560 --> 0:17:46.240 that's a good way to put it into collage number 0:17:46.240 --> 0:17:48.920 one was what he called it. And it is in 0:17:49.040 --> 0:17:53.320 many many parts virtually unrecognizable. Yeah. Oh yeah, it's really 0:17:53.320 --> 0:17:55.440 hard to listen to. It is very hard to listen 0:17:55.480 --> 0:17:58.680 to it. It's a it's a a piece of electronic 0:17:59.000 --> 0:18:04.800 music that deconstructed. It's so it's Blue Swayede. She's deconstructed time. 0:18:05.040 --> 0:18:06.520 And I mean if you look back and you're like, 0:18:06.600 --> 0:18:09.720 holy cow. The video on YouTube shows like the guy 0:18:09.760 --> 0:18:12.520 sitting in front of his setup and it's like pretty 0:18:12.520 --> 0:18:15.480 extensive and like I was obviously, you know, out of 0:18:15.480 --> 0:18:18.560 his mind. Um, lots of drugs, wasn't he. When you 0:18:18.600 --> 0:18:20.359 look back at and you're like, oh that was what 0:18:22.200 --> 0:18:26.080 That's pretty impressive work, Yeah, exactly. Um. Dicky Goodman and 0:18:26.119 --> 0:18:29.879 Bill Buchanan in nifty six had a more commercial version 0:18:29.960 --> 0:18:34.000 of of I guess you would call it music Concrete 0:18:34.359 --> 0:18:36.960 with Flying Saucer. Did you listen to that one I did. 0:18:37.560 --> 0:18:41.479 That was the stuff we heard on FM radio growing up. 0:18:41.800 --> 0:18:44.560 Remember all that matchup stuff they used to do, like 0:18:44.800 --> 0:18:47.600 Bette Miller's from a Distance with like the during the 0:18:47.600 --> 0:18:52.080 first goal four. I don't know what to remember that now. 0:18:52.119 --> 0:18:54.359 I mean, like when the radio stations would do these 0:18:54.920 --> 0:18:56.560 um well, let me go and say what it was 0:18:56.640 --> 0:18:59.920 and play a snippet um flying saucer. They took rock 0:19:00.000 --> 0:19:03.040 and roll hits from that era and mashed it up 0:19:03.080 --> 0:19:06.200 with a fake news report about aliens landing from outer space, 0:19:06.760 --> 0:19:12.359 and it sounded a little something like this, we interrupt 0:19:12.440 --> 0:19:14.200 this record to bring you a special bull of them. 0:19:14.240 --> 0:19:16.800 The reports of a flying saucer hovering over the city 0:19:16.960 --> 0:19:28.520 have been confirmed. The flying saucers are real. That was 0:19:28.560 --> 0:19:32.679 the Clatters recording to real We switch you now to 0:19:32.720 --> 0:19:37.840 all on the spot reporter Dom Tom take it away. 0:19:38.200 --> 0:19:40.960 So that's the stuff that we heard on FM radio, 0:19:41.040 --> 0:19:43.280 like they would do. I remember when I was a kid. 0:19:43.280 --> 0:19:46.199 They would say like, we're gonna call so and so 0:19:46.359 --> 0:19:48.720 right now, and and they would say, hey, how are 0:19:48.720 --> 0:19:50.520 you feeling, And all of a sudden you'd hear but 0:19:50.640 --> 0:19:53.280 couldn't sleep at all last night. And then they would 0:19:53.280 --> 0:19:55.480 ask him another question to be like an interview, and 0:19:55.520 --> 0:20:00.200 the answers were snippets from from rock songs answering, which 0:20:00.240 --> 0:20:03.320 is really like, I mean, it had to say in 0:20:03.320 --> 0:20:06.040 the seventies and eighties. For sure. I don't have a clip, 0:20:06.119 --> 0:20:07.800 so I'm gonna have to describe it. But the Bette 0:20:07.800 --> 0:20:10.119 Midler thing was slightly different. It would be like Bette 0:20:10.119 --> 0:20:15.240 Miller's from a Distance, interspersed with patriotic speeches. Oh yeah, yeah, 0:20:15.240 --> 0:20:18.480 I remember that. Remember that? Yeah, that that was sampling, 0:20:18.880 --> 0:20:24.200 I guess. So it's most jingoistic form at the very least. 0:20:24.200 --> 0:20:26.679 It was a mash up right those Oh by the way, 0:20:26.720 --> 0:20:31.200 those flying saucer guys, Um Buchanan and Goodman, they went 0:20:31.240 --> 0:20:32.919 on to do a lot of those things, like they 0:20:32.960 --> 0:20:36.520 did one during the energy crisis of seventy four crisis 0:20:36.560 --> 0:20:40.160 of seventy nine. But it'd be like, um, how much 0:20:40.160 --> 0:20:44.240 gas will be ration? Just enough for the city, dude, 0:20:44.280 --> 0:20:47.120 I remember that, That's what I was remembering. Yeah, Oh, 0:20:48.680 --> 0:20:51.280 I was not cognizant at that time. I had a 0:20:51.280 --> 0:20:53.639 lot of like poop, my own poop on my hands 0:20:53.720 --> 0:20:57.240 from like playing with it at that when you were thinking, wow, 0:20:57.280 --> 0:20:59.440 this is really neat stuff. Yeah, I was a little 0:20:59.520 --> 0:21:02.000 radio kid back then. Also, I want to say one 0:21:02.040 --> 0:21:05.119 more thing, Um, I went a little deeper in the 0:21:05.200 --> 0:21:13.119 music concrete thing, and apparently Phillips right the manufacturing concern Um. 0:21:13.280 --> 0:21:16.240 They tried to get into electronic music in like the 0:21:16.320 --> 0:21:19.960 late fifties and had this whole little wing that was 0:21:20.080 --> 0:21:22.160 that let a couple of guys just go to town 0:21:22.480 --> 0:21:25.879 like trying to make popular electronic music. And if you 0:21:26.000 --> 0:21:30.560 search Acid House from nineteen eight on YouTube, these guys 0:21:30.600 --> 0:21:33.200 did a pretty good job of it. It is very 0:21:33.200 --> 0:21:35.959 clearly like the predecessor of like it's listenable. It's not 0:21:36.040 --> 0:21:39.520 just like just it's not it's not even avant garde. 0:21:39.520 --> 0:21:41.480 It has like a beat to it and a melody, 0:21:41.480 --> 0:21:44.080 and it's just it's really neat interesting. I don't have 0:21:44.119 --> 0:21:46.240 that clip either. We should do a podcast on the 0:21:46.280 --> 0:21:50.000 mogue that should Okay, that'll that'll be coming. Didn't you 0:21:50.040 --> 0:21:53.159 guys do that on the B side? I think so, 0:21:53.280 --> 0:21:55.959 But well, we'll do it up. But we've gotten requests 0:21:55.960 --> 0:21:57.719 for more music stuff. That's why I picked this one up. 0:21:58.800 --> 0:22:01.880 So you flash word a little bit and you mentioned 0:22:02.200 --> 0:22:06.440 cool DJ Hirk Graham, DJ Grandmaster Flash who a lot 0:22:06.440 --> 0:22:09.600 of people think that was the group. It was Grandmaster 0:22:09.760 --> 0:22:14.320 Flash and the Furious Five if you remember, and uh, 0:22:14.680 --> 0:22:18.000 they hit it big in nineteen eighty with the song Freedom, 0:22:18.040 --> 0:22:22.000 which sampled Get Up and Dance by the band Freedom 0:22:22.240 --> 0:22:24.520 pretty straight up. Well that that kind of took this 0:22:24.560 --> 0:22:27.919 whole thing into mainstream. Well, and that's when scratching started 0:22:27.960 --> 0:22:31.800 to wouldn't it. Yeah, Grandmaster Flash definitely started scratching. DJ 0:22:31.960 --> 0:22:36.320 cool Hirk started sampling very clearly like he's the guy. 0:22:36.960 --> 0:22:39.680 He's from Kingston, Jamaica, and he moved to New York 0:22:39.720 --> 0:22:43.000 in nineteen sixty seven, I think, and started bringing like 0:22:43.119 --> 0:22:47.400 his turntables to block parties and he would just he'd 0:22:47.480 --> 0:22:50.000 find like a drum break or something, and then a 0:22:50.080 --> 0:22:52.000 drum break from another song, and he just keeps like 0:22:52.000 --> 0:22:54.680 putting him together. So it was like one long drum break, 0:22:54.720 --> 0:22:57.199 maybe bring in a little bit of a bassline. And 0:22:57.240 --> 0:22:58.800 I went back and listened to some of it and 0:22:58.920 --> 0:23:01.960 it was good stuff, man, was it? And he's doing 0:23:02.000 --> 0:23:05.679 this in like the mid seventies, and uh, yeah, he 0:23:05.800 --> 0:23:09.760 started sampling as we know it, like turntable sampling. Crazy yeah, 0:23:10.680 --> 0:23:15.240 innovating Josh. That's even better than Crazy Marley Marl is 0:23:15.280 --> 0:23:17.159 someone else we should mention if we're talking about. But 0:23:17.320 --> 0:23:20.359 the early heyday he was a house producer for the 0:23:20.440 --> 0:23:24.200 Juice Crew, which was Big Daddy, Kane and Bismarcki among others, 0:23:24.800 --> 0:23:29.200 but he also produced Eric B and rackiem uh Ellow 0:23:29.240 --> 0:23:32.719 cool J. And he was like he's often cited, is 0:23:32.800 --> 0:23:36.920 like the early leader. What about Redhead Kingpin? I don't 0:23:36.960 --> 0:23:40.040 know that. What's that he's He's like in there somewhere. Yeah, 0:23:40.480 --> 0:23:44.120 Big Daddy came in. You just blasted me with the nostalgia. 0:23:44.600 --> 0:23:49.400 Oh yeah, remember the hat where the gumby haircut? Yeah, 0:23:49.440 --> 0:23:52.520 oh yeah, the what they call that, the high high right. 0:23:53.320 --> 0:23:55.960 I always thought it was called the gumby. That's what 0:23:56.040 --> 0:23:58.880 you call it. Huh, Well, they may called it gumby, heiric. 0:23:58.960 --> 0:24:04.159 I don't know until it's a fade essentially, um the 0:24:04.200 --> 0:24:06.640 Beastie boys, see what I was talking about, Like back 0:24:06.640 --> 0:24:08.920 in the day, in the in the eighties, late eighties, 0:24:09.920 --> 0:24:15.240 they were constructing full songs from dozens of samples. And 0:24:15.359 --> 0:24:17.600