WEBVTT - Selects: How Music Sampling Works 0:00:00.880 --> 0:00:03.960 Hello, everyone. This is Charles W. Chuck Bryant here, co 0:00:04.000 --> 0:00:06.520 host of Stuff you Should Know. That's the podcast you're 0:00:06.559 --> 0:00:09.080 listening to right now. If you didn't know, on Saturdays 0:00:09.400 --> 0:00:13.319 we played reruns. That's right. We call them selects because 0:00:13.360 --> 0:00:16.360 we hand pick them ourselves and do these goofy little intros, 0:00:16.840 --> 0:00:19.360 which is kind of a lot of fun, actually, but 0:00:19.400 --> 0:00:21.400 that's what they're called. They're called Saturday Selects, and it's 0:00:21.440 --> 0:00:23.480 a chance for you to either re listen to a 0:00:23.520 --> 0:00:26.320 classic episode or to hear it for the very first time. 0:00:26.600 --> 0:00:28.840 If you didn't start listening to the podcast a gazillion 0:00:28.920 --> 0:00:32.440 years ago when we started. This is from March twenty ninth, 0:00:32.560 --> 0:00:35.760 twenty twelve. Oh boy, that's a long time ago. How 0:00:35.920 --> 0:00:41.919 music sampling works. Hope we got this one right. 0:00:43.000 --> 0:00:50.760 Welcome to Stuff you Should Know, a production of iHeartRadio. 0:00:52.440 --> 0:00:55.279 Hey, and welcome to the podcast. I'm Josh Clark with 0:00:55.320 --> 0:00:58.200 me as always is Charles W. Chuck Bryant. And that 0:00:58.320 --> 0:01:03.920 makes this the suit were sample version of Stuff you Should. 0:01:03.680 --> 0:01:07.480 Know, The super Stuff Guide to Sampling. Could that be 0:01:07.480 --> 0:01:08.440 an audiobook? Why not? 0:01:08.640 --> 0:01:10.479 Let's try. As a matter of fact, if you're listening 0:01:10.520 --> 0:01:16.800 to this right now, youoe us a dollar. Mail it in, Yeah, 0:01:16.920 --> 0:01:21.399 mail it into thirty three fifty Peachtree Road, Atlanta and Georgia. 0:01:22.000 --> 0:01:25.040 Carry up, Josh Clark three zho three one three three 0:01:25.080 --> 0:01:30.520 two sixes sweet fifteen hundred. Okay, all right, with that done, 0:01:30.600 --> 0:01:35.160 we can continue on with the podcast. You know what 0:01:35.200 --> 0:01:37.360 we should have gotten really creative and just like sampled 0:01:37.520 --> 0:01:42.399 old podcasts and put them together in too. Jerry, do 0:01:42.400 --> 0:01:43.240 you feel like doing that? 0:01:44.200 --> 0:01:44.240 No? 0:01:45.440 --> 0:01:47.039 I do a mashup. That's what they call that. 0:01:47.240 --> 0:01:50.400 Sure, that's what the kids call it these days. Yeah, yeah, no, 0:01:50.520 --> 0:01:53.720 we'll just do it straight instead boring and guess is 0:01:53.760 --> 0:01:55.400 what you call it. I have an intro. 0:01:55.840 --> 0:01:56.360 Let's hear it? 0:01:56.920 --> 0:02:01.360 Have you heard chuck of a man named Arman Bulladian? 0:02:03.360 --> 0:02:06.760 Arm in Tanzerian? Nope, no, I have not done. 0:02:07.320 --> 0:02:09.960 Arman Balladian is the owner and sole employee of a 0:02:09.960 --> 0:02:11.240 company called Bridgeport. 0:02:11.560 --> 0:02:12.840 Oh yeah, okay, now I have. 0:02:13.040 --> 0:02:17.840 Bridgeport is a music catalog company. Yeah, and like many 0:02:17.840 --> 0:02:20.920 other music catalog companies, they basically just sit on a 0:02:20.960 --> 0:02:25.320 lot of copyrights to popular songs the musical composition of 0:02:25.360 --> 0:02:25.880 those songs. 0:02:25.960 --> 0:02:26.040 Right. 0:02:26.120 --> 0:02:29.880 Yeah, it's almost like owning stock, yes, like you buy 0:02:29.960 --> 0:02:31.960 stock in these musics and wait for them to be 0:02:32.000 --> 0:02:32.520 worth something. 0:02:32.840 --> 0:02:38.120 Sure, or you can allegedly shadily get your hands on 0:02:38.800 --> 0:02:42.760 already valuable music. Sure, and then like stocks, do to 0:02:42.880 --> 0:02:47.520 what Bridgeport did, which is start suing anyone and everyone 0:02:47.880 --> 0:02:52.480 whoever sampled it. So Bridgeport made a big flap in 0:02:52.480 --> 0:02:57.359 two thousand and five when they sued Jay Z for 0:02:57.440 --> 0:03:01.120 his song Justify My Thug. Yeah, I want to go 0:03:01.120 --> 0:03:04.519 ahead and add a disclaimer here. I am far too 0:03:04.560 --> 0:03:08.120 square to talk seriously about hip hop. Like I'm really 0:03:08.160 --> 0:03:12.840 into elevator music right now, seriously. Yeah, So when I 0:03:12.840 --> 0:03:17.200 say things like justify my Thug or jay Z or 0:03:17.440 --> 0:03:22.799 breaks right, I'm speaking strictly as an outside observer, an 0:03:22.800 --> 0:03:27.120 interested outside observer. But I'm not I'm not from the streets. 0:03:27.240 --> 0:03:32.320 So like, yeah, I was. I was down, as they say, 0:03:32.600 --> 0:03:37.520 from like eighty seven to ninety five ish. That was 0:03:37.560 --> 0:03:40.040 those were my big hip hop years. Nice and then 0:03:40.160 --> 0:03:42.400 but these days you say jay Z, and I know 0:03:42.480 --> 0:03:47.640 that's the that's the handsome man married to that pretty lady. Okay, 0:03:47.680 --> 0:03:49.040 So we had I'm not down with the new stuff. 0:03:49.040 --> 0:03:51.040 We had a similar trajectory. 0:03:50.640 --> 0:03:52.440 Yeah, except I used to be into it and it 0:03:52.480 --> 0:03:55.240 sounds like you never were right. What in the name 0:03:55.280 --> 0:03:57.040 of God is a walk of flokka? 0:03:59.240 --> 0:03:59.480 You know? 0:04:00.280 --> 0:04:00.600 Yes? 0:04:00.880 --> 0:04:04.680 All right? So anyway, Bridgeport sued jay Z for sampling 0:04:04.720 --> 0:04:07.880 Madonna's Justify My Love. Somehow Bridgeport got its hands on 0:04:07.960 --> 0:04:11.760 the copyright to Justify My Love. That's a pretty big song, sure, 0:04:12.200 --> 0:04:15.080 and when jay Z sampled it, they suit him. Now, 0:04:15.120 --> 0:04:18.880 this guy runs around suing everybody. Apparently he had like 0:04:19.000 --> 0:04:23.880 seven hundred lawsuits against just people who sampled George Clinton's work. 0:04:24.080 --> 0:04:26.120 Well that's a big attorney fees right there. 0:04:26.040 --> 0:04:28.760 Yeah, it is. And but when it pays off, it 0:04:28.760 --> 0:04:31.000 pays off. So this guy has come to be known 0:04:31.000 --> 0:04:33.800 a Bridgeport. People like him have come to be known 0:04:33.839 --> 0:04:37.360 where called sample trolls. Remember patent trolls when I gave 0:04:37.440 --> 0:04:41.800 like the absolute wrong definition of that. Well, sample troll 0:04:41.880 --> 0:04:44.160 is somebody who just buys up songs, hangs on to 0:04:44.200 --> 0:04:46.800 the copyrights, and then sues people who sample them without asking. 0:04:47.560 --> 0:04:50.480 On the one hand, you can make a case that, well, 0:04:50.640 --> 0:04:53.960 these people are breaking copyright lawcher by not asking and 0:04:54.040 --> 0:04:57.560 getting permission to use samples of this. On the other hand, 0:04:58.160 --> 0:05:01.880 Bridgeport has made it their aim to sue anybody who 0:05:01.960 --> 0:05:04.039 sampled it at all, even if they've taken the work 0:05:04.120 --> 0:05:08.479 and made it unrecognizable, right, which that kind of a 0:05:08.480 --> 0:05:09.840 lot of people are on the other side of the 0:05:09.839 --> 0:05:14.280 aisle going like that's ridiculous, that stifles creativity. This is 0:05:14.480 --> 0:05:19.920 just one of the many interesting aspects of music sampling. 0:05:20.400 --> 0:05:22.680 Wow, that was a proper intro. 0:05:22.920 --> 0:05:24.039 It's been a while. 0:05:24.800 --> 0:05:27.560 And that's one, but it's probably the biggest as far 0:05:27.600 --> 0:05:32.279 as what people think about how music is used in 0:05:32.400 --> 0:05:36.640 creativity and ownership. And one of the things that you 0:05:36.720 --> 0:05:39.720 just mentioned was Bridgeport is some big corporation and if 0:05:39.760 --> 0:05:44.560 you talk to like Hank Shockley, the former producer of 0:05:44.560 --> 0:05:48.240 Public Enemy, he will say that, you know, we don't 0:05:48.279 --> 0:05:50.880 have any problems paying music to artists who created the stuff, 0:05:50.920 --> 0:05:53.039 he said, but they're own by these corporations now, and 0:05:53.080 --> 0:05:55.320 it's just it's greed on their part. 0:05:55.520 --> 0:05:58.640 Yes, which is not There are two sides to every 0:05:58.720 --> 0:06:04.080 story now, and the music industry, as we'll see, kind 0:06:04.080 --> 0:06:06.359 of went on a tear of like suing everybody and 0:06:06.400 --> 0:06:10.479 protecting themselves. And now you kind of understand like, oh, 0:06:10.520 --> 0:06:12.640 that's why no one feels bad about this whole music 0:06:12.720 --> 0:06:13.479 piracy thing. 0:06:13.800 --> 0:06:16.240 Well, and there was a big rush at one point, 0:06:16.279 --> 0:06:19.280 because it was a new genre. I mean, we'll get 0:06:19.279 --> 0:06:20.880 into the history of how it came to be in 0:06:20.960 --> 0:06:22.640 all but it was a new thing and so all 0:06:22.680 --> 0:06:24.960 of a sudden, you know, for the first you know, 0:06:25.200 --> 0:06:28.599 several years, that was open territory. Yeah, and that's when 0:06:28.720 --> 0:06:30.440 like that was the heyday aps me. 0:06:30.720 --> 0:06:33.479 Well, folks nerdier than us might be confused at this 0:06:33.520 --> 0:06:39.560 point because sampling also refers to digitizing music. Yes, what 0:06:39.640 --> 0:06:43.280 we're talking about is taking a piece of an already 0:06:43.360 --> 0:06:48.200 established piece of music, right, a selection of it, and 0:06:48.240 --> 0:06:52.839 then recreating it using it put maybe putting it back 0:06:52.880 --> 0:06:53.920 to back to back in a. 0:06:54.240 --> 0:06:57.400 Loop sometimes oftentimes actually. 0:06:57.080 --> 0:07:01.520 And then creating something new using this right. Yeah, So 0:07:01.839 --> 0:07:03.960 that's what we're talking about with music sampling, all right, 0:07:04.680 --> 0:07:06.039 it's been around for a while too. 0:07:06.560 --> 0:07:11.440 Yeah. Well you mentioned taking a snippet. Let's go ahead 0:07:11.440 --> 0:07:13.760 and just get a couple of examples out there. If 0:07:13.760 --> 0:07:16.200 we want to start out with trying to explain to 0:07:16.200 --> 0:07:18.360 people what a sample is. And most people know this, ok, 0:07:18.640 --> 0:07:22.680 there are no further places to look than James Brown's 0:07:23.640 --> 0:07:27.120 nineteen seventy song Funky Drummer. Let's go ahead and hear 0:07:27.240 --> 0:07:38.640 that little break beat Oh it's like that. Huh yeah, 0:07:39.080 --> 0:07:41.040 all right, so that's instantly recognizable. 0:07:41.080 --> 0:07:42.760 So that's funky drummer. 0:07:42.840 --> 0:07:46.640 That's Funky drummer. And that was who was the drummer. 0:07:46.280 --> 0:07:48.560 There, Clyde Stubblefield. 0:07:48.960 --> 0:07:51.760 Yes, Clyde Stubblefield, who has never gotten a scent. 0:07:52.280 --> 0:07:55.480 No, but he's pretty cool man. He is not trying 0:07:55.520 --> 0:08:00.440 to sue anybody. He's not seeking anything any damage from this. Literally, 0:08:00.600 --> 0:08:03.520 thousands of songs have used that drum break, right. 0:08:03.880 --> 0:08:06.360 Yeah, James Brown has been sampled and this is not 0:08:06.440 --> 0:08:08.080 just that song, but a lot of it comes from 0:08:08.120 --> 0:08:11.720 Funky Drummer twenty seven and twenty nine times. Okay, so 0:08:12.280 --> 0:08:13.080 the leader. 0:08:12.880 --> 0:08:15.200 And you can make a case that Funky Drummer provided 0:08:15.240 --> 0:08:18.240 the basis for hip hop. Like all early hip hop songs, 0:08:18.440 --> 0:08:21.160 especially in like the mid to late eighties, all used 0:08:21.160 --> 0:08:25.960 that drum break, right, Stubblefield's not going after anybody for that. 0:08:26.160 --> 0:08:29.200 But what he did was get together with some documentarians 0:08:29.200 --> 0:08:33.120 who made something called Copyright Criminals, a documentary called Copyright 0:08:33.120 --> 0:08:36.560 Criminals to release a special version of the DVD that 0:08:36.640 --> 0:08:40.800 has all new ready to sample Clyde Stubblefield drum brakes 0:08:41.000 --> 0:08:43.120 nice that he created just for this, and if you 0:08:43.160 --> 0:08:45.640 want to use them, he's give him like fifteen percent 0:08:45.679 --> 0:08:49.280 of your sales. Nice, So he's like doing it, he's 0:08:49.320 --> 0:08:50.480 trying out a different model. 0:08:50.960 --> 0:08:53.360 Well, on the other side too, which we haven't mentioned, 0:08:53.440 --> 0:08:55.040 is and this is the point that a lot of 0:08:55.040 --> 0:08:57.559 the hip hop producers would make, is that some of 0:08:57.600 --> 0:09:01.480 these people are being pulled from obscurity. For instance, the 0:09:01.600 --> 0:09:04.800 second clip we're gonna play, which is the Amen break 0:09:05.400 --> 0:09:08.440 from Amen Brother and it was a B side from 0:09:08.480 --> 0:09:11.640 a very little known song from a group called the Winstons. 0:09:12.080 --> 0:09:14.440 We can hear this one, dude, Yes, and we'll hear 0:09:14.480 --> 0:09:28.120 that right now. So that one, to me is slightly 0:09:28.160 --> 0:09:29.240 better than Funky Drummer. 0:09:29.320 --> 0:09:31.120 So that's the Amen brank. 0:09:31.160 --> 0:09:33.000 That's the Amen break. And dude, that one has been 0:09:33.120 --> 0:09:35.040 sampled thousands of times. 0:09:34.720 --> 0:09:40.080 So that one gave birth to drum and bass in jungle, 0:09:41.160 --> 0:09:47.960 like all all jungle music is based on the deconstruction 0:09:48.120 --> 0:09:50.960 of the amen break. If you're interested in hearing about 0:09:51.000 --> 0:09:53.880 there's a really cool movie, like a video. It's like 0:09:53.920 --> 0:09:57.320 eighteen minutes long. It's a YouTube video and the title 0:09:57.400 --> 0:10:01.360 is video explains the world's most important six second drum loop. Wow, 0:10:01.520 --> 0:10:05.599 so it gave rise to Jungle. NWA straight out of 0:10:05.679 --> 0:10:11.920 Compton used that. Yeah, Cold Cut used it. Yeah, and 0:10:12.240 --> 0:10:14.520 Third Base famously used it as well. 0:10:14.520 --> 0:10:17.120 And hundreds of others. Yeah, I like their Base, And 0:10:17.160 --> 0:10:18.560 that was because we want to give due to some 0:10:18.600 --> 0:10:21.760 of these folks who created this stuff. That was Gregory 0:10:21.800 --> 0:10:25.080 Sylvester Coleman, who was the actual drummer that played that lick. 0:10:25.120 --> 0:10:26.320 And that was the Winston's. 0:10:26.600 --> 0:10:30.240 Yeah, the Winston's excellent Gregory Sylvester Coleman. 0:10:30.360 --> 0:10:32.920 So yeah, I think what you're originally saying is some 0:10:32.960 --> 0:10:36.360 producers are saying, like you ever heard of Gregory Coleman? 0:10:36.760 --> 0:10:39.240 Yeah, exactly. So they're they're bringing some of these folks 0:10:39.280 --> 0:10:41.440 out of obscurity and giving them their due. 0:10:41.520 --> 0:10:44.560 And I'm sure selling some records for him here or there. 0:10:44.760 --> 0:10:47.920 Yeah, although that record's really hard to find obviously, Well 0:10:47.920 --> 0:10:50.800 they need to press it again, maybe they should. Okay, 0:10:51.800 --> 0:10:54.960 So you take an loll cool j Ladies Love Cool 0:10:55.040 --> 0:10:56.479 James for instance. 0:10:56.480 --> 0:10:57.800 Is that what l ALL stands for? 0:10:57.880 --> 0:10:59.880 Yeah? You never knew that, No, Yeah, I even listened 0:10:59.880 --> 0:11:02.600 to him extensively. He was James something and you know 0:11:02.600 --> 0:11:04.840 the ladies Love Cool James or. 0:11:04.880 --> 0:11:08.920 E O Z Cool Jake Cookies, I'm bad see you know, No, 0:11:09.080 --> 0:11:10.800 I did know. I've just fallen off like you. 0:11:11.000 --> 0:11:15.240 Okay, So you take the funky Drummer from James Brown 0:11:15.320 --> 0:11:18.480 song and you take uh sli in the Family Stones, 0:11:18.640 --> 0:11:22.559 Trip to Your Heart the the background vocals, and then 0:11:22.600 --> 0:11:25.160 basically you loop those over and over and over and 0:11:25.200 --> 0:11:27.360 you have a little song called Mama said Knock you out. 0:11:27.640 --> 0:11:28.600 Oh we're about to hear that. 0:11:28.720 --> 0:11:31.040 Well, we're gonna hear him separately. Obviously we already played 0:11:31.040 --> 0:11:33.640 the Funky Drummer, and now this is the Trip to 0:11:33.679 --> 0:11:36.960 your Heart backing vocals from Slying the Family Stone whom 0:11:37.040 --> 0:11:49.400 I love. All right, So that's it, dude, over and 0:11:49.440 --> 0:11:53.079 over and over with ladies love cool James rapping. Okay, 0:11:53.280 --> 0:11:55.160 and you got a huge, huge hit. 0:11:55.920 --> 0:11:57.160 Yeah, oh that was a big one. 0:11:57.240 --> 0:11:59.679 Oh yeah huge. I wasn't a big local Jake though. 0:12:01.160 --> 0:12:03.320 I like the one. I don't remember what it's called, 0:12:03.320 --> 0:12:05.319 but it had like the boom box on the cover 0:12:06.080 --> 0:12:09.280 of the tape. I don't like the album artwork was 0:12:09.320 --> 0:12:10.000 a boombox. 0:12:10.200 --> 0:12:12.920 Yeah that was good. Uh, it had I'm bad on 0:12:13.160 --> 0:12:16.320 Oh it did. Yeah. Okay, it's not always songs that 0:12:16.360 --> 0:12:19.800 you're sampling. Sometimes you're sampling stuff from like a TV 0:12:19.840 --> 0:12:24.160 show or a movie, or like the Living Color song 0:12:24.240 --> 0:12:25.600 called a Personality. You remember that. 0:12:26.000 --> 0:12:28.200 Oh yeah, they had like an FDR speech. 0:12:28.400 --> 0:12:30.839 I think it was Kennedy or no, it was FDR. 0:12:31.320 --> 0:12:34.839 Kennedy too, Okay, but that that was Kennedy. But he 0:12:34.920 --> 0:12:38.360 said the only thing we have to fear his fear itself. Yeah, yeah, 0:12:38.360 --> 0:12:41.199 doubting Thomas. They were like a skinny puppy offshoot. They 0:12:41.440 --> 0:12:47.359 sampled I think the Day the Earth Stood Still extensively 0:12:47.400 --> 0:12:50.400 throughout this one album that they created. It was pretty good. 0:12:50.480 --> 0:12:53.200 Well, and guns and Roses on their song civil War, 0:12:53.559 --> 0:12:55.320 remember at the beginning of that they played the cool 0:12:55.320 --> 0:13:00.400 hand Luke bit over the you know guitar, and then 0:13:00.679 --> 0:13:02.480 Axel's weasley little voice comes through. 0:13:03.360 --> 0:13:07.000 Oh and Metallica is one, oh yeah, yeah, sample Johnny 0:13:07.000 --> 0:13:07.480 got his gun. 0:13:07.559 --> 0:13:09.800 That's right in the video too. Right, So those are 0:13:09.840 --> 0:13:12.000 all samples. You might just think, oh, that's a snippet 0:13:12.000 --> 0:13:13.719 from a movie, but it's a sample, just like you 0:13:13.760 --> 0:13:19.560 would use the amen brake. Right, Okay. The first sampler, 0:13:19.800 --> 0:13:21.319 if you want to go back in time a bit, 0:13:22.760 --> 0:13:23.559 was the melotron. 0:13:24.880 --> 0:13:28.040 Yeah, the actual not the person but the machine that 0:13:28.120 --> 0:13:31.319 someone used that was creative for sampling, right. 0:13:31.800 --> 0:13:33.880 Yeah, I mean it was. It was the first time 0:13:33.960 --> 0:13:37.000 that they had ever you know, it's basically a little keyboard. 0:13:37.160 --> 0:13:39.600 They're very basic. I wish I had one. They're really sweet, 0:13:40.000 --> 0:13:42.320 and it has a volume, a tone, and a pitch 0:13:42.360 --> 0:13:45.240 control a low and high octave you can switch between, 0:13:45.400 --> 0:13:51.680 and then three samples A, B and C flutes, violins, 0:13:51.720 --> 0:13:55.200 and cello. And it was the first time that they 0:13:56.320 --> 0:13:58.800 basically had ever sampled anything like that. So you press 0:13:58.840 --> 0:14:03.880 the keyboard and it plays back a pre recorded loop 0:14:04.040 --> 0:14:06.360 of a single note of that single note on a flute, 0:14:06.400 --> 0:14:08.719 let's say, okay, which seems you know, you take that 0:14:08.800 --> 0:14:10.599 for granted now when you buy these keyboards where you 0:14:10.600 --> 0:14:13.240 can do a million different things. But back then, the 0:14:13.280 --> 0:14:14.880 melotron was huge. 0:14:15.040 --> 0:14:18.680 Oh yeah. And even before that, people would take magnetic tapes, 0:14:18.800 --> 0:14:23.080 like real, real tapes and literally cut and splice them, yeah, 0:14:23.120 --> 0:14:24.520 to create their own samples. 0:14:24.800 --> 0:14:28.240 Well, and if you want to hear a classic example 0:14:28.280 --> 0:14:32.240 of the melotron flute and I do, listen to this 0:14:32.280 --> 0:14:33.280 little clip right here? 0:14:33.400 --> 0:14:34.520 Is it aqualong no? 0:14:34.920 --> 0:14:36.000 Ready? 0:14:45.440 --> 0:14:46.480 Aquaalongue no. 0:14:47.480 --> 0:14:50.000 That was the intro for the Beatles Strawberry Fields, and 0:14:50.040 --> 0:14:54.400 that was Paul McCartney playing the flute sample of the 0:14:54.440 --> 0:14:56.920 melotron on the melotron. Crazy, pretty cool, huh. 0:14:56.960 --> 0:14:58.240 I always thought it was just flutes. 0:14:58.440 --> 0:15:01.040 And then like King Crimson and Yet and Genesis, like 0:15:01.080 --> 0:15:02.560 they went crazy with a melotron. 0:15:02.840 --> 0:15:07.080 Yeah. Genesis was awesome early on. Yeah, they awesome, but 0:15:07.120 --> 0:15:09.120 in a different way, you know. 0:15:09.680 --> 0:15:13.800 Yeah, a very different way. Very okay. So you talked 0:15:13.800 --> 0:15:16.400 about the origins with the tape splicing. 0:15:17.360 --> 0:15:20.400 Yeah, yeah, I mean you were. You can go back 0:15:20.440 --> 0:15:22.440 even further than the melotron. It was at the sixties. 0:15:24.240 --> 0:15:26.320 Yes, there were these two dudes. 0:15:26.800 --> 0:15:31.240 They were the two Pierre's I call them Pierre Schaeffer 0:15:31.280 --> 0:15:35.320 and Pierre Henry, but probably Pierre Omri, I bet. And 0:15:35.400 --> 0:15:37.600 they were I guess what you would call a couple 0:15:37.720 --> 0:15:41.120 of avant garde musical artists, and they created what's called 0:15:41.200 --> 0:15:42.800 music concrete. 0:15:42.480 --> 0:15:43.960 S freaky stuff. Did you hear any of it? 0:15:44.040 --> 0:15:47.600 Yeah? I did. There's again the YouTube factors in heavily 0:15:47.720 --> 0:15:48.640 in this episode. 0:15:48.720 --> 0:15:49.200 Yeah. 0:15:49.280 --> 0:15:51.120 If you want to find out a little bit about 0:15:51.200 --> 0:15:55.640 music concrete, check out the nineteen seventy nine BBC documentary 0:15:55.960 --> 0:15:58.560 The New Sound of Music that is very awesome. 0:15:58.760 --> 0:16:00.880 I did watch that actually, Yeah, that guy was a 0:16:00.920 --> 0:16:03.360 really great host. Yeah it was. He really laid it down. 0:16:03.680 --> 0:16:06.680 So he talks about music concrete where it's basically like 0:16:06.760 --> 0:16:10.000 these people before there were tape recorders. Even I don't 0:16:10.000 --> 0:16:11.320 know how they were doing this, I guess real the 0:16:11.400 --> 0:16:15.840 real Yeah, and then these guys were doing splicing. They 0:16:15.880 --> 0:16:18.720 would record the sound of a can falling or the 0:16:18.760 --> 0:16:21.600 sound of a metronome or you know, a piece of 0:16:21.680 --> 0:16:24.000 music off of you know, the radio, and then they 0:16:24.000 --> 0:16:28.200 would splice it all together into something that's like barely listenable, right. 0:16:28.800 --> 0:16:33.320 It was. It was electronically reproduced music, and it formed 0:16:33.320 --> 0:16:36.920 the basis of everything that came after it that had 0:16:36.960 --> 0:16:40.000 anything to do with electronic from like Pink Floyd to 0:16:40.440 --> 0:16:44.840 all electronic music, to the Residents to Silver Apples, to 0:16:45.320 --> 0:16:50.600 all these people who craftwork, who created electronic music. It's 0:16:50.720 --> 0:16:53.560 all based on this, these two guys creating this in 0:16:53.600 --> 0:16:55.600 like nineteen forty eight or something like that. 0:16:55.600 --> 0:16:57.560 That's crazy. Did you see the part of the video 0:16:57.560 --> 0:17:00.000 where they took the tape by hand and were dragged 0:17:00.160 --> 0:17:03.360 it through. Yeah, that ended up sounding like and I 0:17:03.400 --> 0:17:05.720 think was sort of the origins of record scratching. 0:17:06.440 --> 0:17:08.080 That's what it sounded like to me as well. 0:17:08.119 --> 0:17:09.639 Of course it was produced back in the day, so 0:17:09.680 --> 0:17:12.200 they didn't say it was before record scratching. 0:17:12.280 --> 0:17:14.439 This is about to give rise to this. Actually it 0:17:14.480 --> 0:17:15.960 was coming out at the same time, because it was 0:17:16.040 --> 0:17:20.159 nineteen seventy nine and that's when like DJ Cool Hurt 0:17:20.280 --> 0:17:24.600 and Grandmaster Flash, We're starting to get really good. Yeah, 0:17:24.640 --> 0:17:27.080 they were playing high school so people were taking notice. 0:17:27.720 --> 0:17:31.680 That is true. So jumping back again in nineteen sixty one, 0:17:31.760 --> 0:17:36.000 James Tenny Huh took blue Swede shoes from Elvis Presley 0:17:36.720 --> 0:17:38.000 and have you heard this thing? 0:17:38.160 --> 0:17:40.960 Yeah, it's very avant garde, is the way to put it. 0:17:41.040 --> 0:17:43.800 Yeah, that's a good way to put it into Collage 0:17:43.880 --> 0:17:45.880 number one was what he called it. And it is 0:17:46.680 --> 0:17:49.240 in many many parts virtually unrecognizable. 0:17:49.760 --> 0:17:52.040 Yeah. Oh yeah, it's really hard to listen to. 0:17:52.320 --> 0:17:53.439 It is very hard to listen to. 0:17:53.440 --> 0:17:59.000 It's a it's a piece of electronic music that's deconstructed. 0:17:59.600 --> 0:18:01.800 It's Bluth Suade. She's deconstructed. 0:18:02.040 --> 0:18:02.720 Yeah, big time. 0:18:02.920 --> 0:18:04.480 And I mean if you look back and you're like, 0:18:04.520 --> 0:18:07.640 holy cow. The video on YouTube shows like the guy 0:18:07.680 --> 0:18:10.000 sitting in front of his setup. Yeah, and It's like 0:18:10.080 --> 0:18:12.960 pretty extensive, and the guy was obviously, you. 0:18:12.920 --> 0:18:15.879 Know, out of his mind lots of drugs, wasn't he. 0:18:15.960 --> 0:18:17.760 But when you look back at it and you're like, oh, 0:18:17.840 --> 0:18:21.440 that was what nineteen sixty one, that's pretty impressive work. 0:18:21.640 --> 0:18:55.200 Yeah, exactly, Jo Job, Dicky Goodman and Bill Buchanan in 0:18:55.280 --> 0:18:59.760 nineteen fifty six had a more commercial version of I 0:18:59.760 --> 0:19:03.479 guess you would call it music concrete with Flying Saucer. 0:19:03.720 --> 0:19:06.679 Did you listen to that one? I did? That was 0:19:07.240 --> 0:19:10.280 the stuff we heard on FM radio growing up. Remember 0:19:10.280 --> 0:19:12.800 all that mashup stuff they used to do, like. 0:19:12.960 --> 0:19:15.720 Pat Midler's from a Distance with like the during the 0:19:15.760 --> 0:19:16.680 First Gulf War. 0:19:17.800 --> 0:19:20.560 I don't know, I don't remember that, No, I mean 0:19:20.600 --> 0:19:23.760 like when the radio stations would do these well, let 0:19:23.800 --> 0:19:25.159 me go and say what it was and play a 0:19:25.200 --> 0:19:29.000 snippet flying Saucer. They took rock and roll hits from 0:19:29.000 --> 0:19:32.160 that era and mashed it up with a fake news 0:19:32.160 --> 0:19:35.520 report about aliens landing from outer space, and it sounded 0:19:35.560 --> 0:19:40.200 a little something like this, we. 0:19:40.160 --> 0:19:42.480 Interrupt this record to bring you a special bulletin the 0:19:42.520 --> 0:19:45.240 Reports of a flying saucer hovering over the city have 0:19:45.359 --> 0:19:56.399 been confirmed. The flying saucers are real, Captain. See that 0:19:56.640 --> 0:20:00.719 was the clutters recording to real. We switch you now 0:20:01.080 --> 0:20:06.280 on the Spoder Reporter down town, Take it away, John. 0:20:06.359 --> 0:20:09.080 So that's the stuff that we heard on FM radio. 0:20:09.240 --> 0:20:11.440 Like they would do. I remember when I was a kid. 0:20:11.440 --> 0:20:14.359 They would say, like, we're gonna call so and so 0:20:14.520 --> 0:20:17.280 right now, and they would say, Hey, how you feeling, 0:20:17.359 --> 0:20:19.480 And all of a sudden you'd hear Buck couldn't sleep 0:20:19.480 --> 0:20:21.840 at all last night, and then they would ask him 0:20:21.840 --> 0:20:23.800 in another question. It'd be like an interview, and the 0:20:23.880 --> 0:20:29.199 answers were snippets from rock songs answering, which is really like, 0:20:30.280 --> 0:20:31.960 I mean, it had its hey day in the seventies 0:20:32.040 --> 0:20:32.840 and eighties. For sure. 0:20:33.160 --> 0:20:35.000 I don't have a clip, so I'm gonna have to 0:20:35.000 --> 0:20:37.399 describe it. But the bet Miller thing was slightly different. 0:20:37.440 --> 0:20:40.240 It would be like Bette Miller's From a Distance, interspersed 0:20:40.280 --> 0:20:42.480 with patriotic speeches. 0:20:42.680 --> 0:20:43.840 Oh yeah, yeah, I remember that. 0:20:43.920 --> 0:20:44.399 You remember that. 0:20:44.560 --> 0:20:50.720 Yeah, that was sampling, I guess. So it's most jingoistic form. 0:20:51.600 --> 0:20:54.399 At the very least. It was a mashup right those Oh, 0:20:54.480 --> 0:20:58.880 by the way, those Flying Saucer guys, Buchanan and Goodman. Yeah, 0:20:59.000 --> 0:21:00.800 they went on to do a lot of those things, 0:21:00.840 --> 0:21:03.440 like they did one during the energy crisis of seventy four, 0:21:03.760 --> 0:21:06.560 the energy crisis of seventy nine, but it'd be like 0:21:07.920 --> 0:21:11.800 how much gas will be rationed just enough for the city. 0:21:12.119 --> 0:21:14.200 Dude, I remember that, That's what I was remembering. 0:21:14.200 --> 0:21:18.080 Really. Yeah, oh, eight years old, I was not cognizant 0:21:18.160 --> 0:21:20.399 at that time. I had a lot of like poop, 0:21:20.440 --> 0:21:22.800 my own poop on my hands from like playing with 0:21:22.880 --> 0:21:26.479 it when you were thinking, wow, this is really neat stuff. 0:21:26.560 --> 0:21:28.680 Yeah, I was a little radio kid back then. 0:21:28.960 --> 0:21:30.720 Oh. Also, I want to say one more thing, I 0:21:31.920 --> 0:21:35.040 went a little deeper in the music concrete thing. Okay, 0:21:35.080 --> 0:21:41.640 and apparently Phillips right the manufacturing concern. Oh yeah, they 0:21:42.280 --> 0:21:44.680 tried to get into electronic music in like the late 0:21:44.720 --> 0:21:48.879 fifties and had this whole little wing that let a 0:21:48.880 --> 0:21:51.280 couple of guys just go to town like trying to 0:21:51.400 --> 0:21:55.480 make popular electronic music. And if you search acid House 0:21:55.480 --> 0:21:58.960 from nineteen fifty eight on YouTube, these guys did a 0:21:59.000 --> 0:22:00.240 pretty good job of it. 0:22:00.280 --> 0:22:00.560