DOCSLIB.ORG

TEG 76536C MANTRONIX King of the Beats LP

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TEG 76536C MANTRONIX King of the Beats LP MANTRONIX KING OF THE BEATS: ANTHOLOGY 1985-1988 A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix - Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88 PRESSED ON LIMITED EDITION RED & WHITE VINYL! How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around. Format: 2xLP Cat. No: TEG76536C-LP Label: Traffic Entertainment Group 2xLP Available: 07/26/19 8 29357 65365 9 RESOLICITATION.
Load more

Recommended publications
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
    [Show full text]
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
    [Show full text]
  • The Evolution of Hip Hop 1980’S
    The Evolution of Hip Hop 1980’s Sugar Hill Gang Rapper’s Delight Kurtis Blow The Breaks Sugar Hill Gang Apache (Jump On It) Herbie Hancock Rockit West Street Mob Let’s Dance (Make Your Body Move) Whodini Magic’s Wand Afrika Bambaataa & Soulsonic Force Renegades of Funk Royal Cash Radio Active Rockmaster Scott & the Dynamic 3 Request Line West Street Mob Break Dance Mann Parish Boogie Down Bronx Afrika Bambaataa & Soulsonic Force Looking For the Perfect Beat Newcleus Jam On It Strafe Set It Off COD In The Bottle Jonzun Crew Pack Jam (Look Out For The OVC) LA Dream Team Rockberry Jam Freestyle Don’t Stop The Rock Rockmaster Scott & the Dynamic 3 The Roof Is On Fire Divine Sounds What People Do For Money Run DMC It’s Like That UTFO Beats & Rhymes Hashim Al-Naafiysh (The Soul) Cybotron Clear Kano Holly Dolly Afrika Bambaataa & Soulsonic Force Planet Rock Planet Patrol Play At Your Own Risk Ice-T Reckless Pretty Tony Fix It In The Mix Egyptian Lover Egypt Egypt Twilight 22 Electric Kingdom Twilight 22 Siberian Nights Grandmaster Melle Mel Survival (The Message II) Quadrant Six Body Mechanic World Class Wreckin Cru Surgery Arthur Baker Breaker’s Revenge Planet Patrol I Didn’t Know You Loved Me Fat Boys Fat Boys Jonzun Crew Space Cowboy Grandmaster Flash & the Furious 5 The Message Run DMC Sucker MC’s Davy DMX One For The Treble Doug E Fresh & Slick Rick Lodi Dodi Dr Jeckyl & Mr Hyde Genius Rap Run DMC King Of Rock Whodini Freaks Come Out At Night Dana Dane Cinderfella Dana Dane Schooly D PSK… What Does It Mean? Boogie Boys Fly Girl UTFO Roxanne
    [Show full text]
  • Top 40 Singles Top 40 Albums
    13 June 1988 CHART #620 Top 40 Singles Top 40 Albums Don't Turn Around Sweet Lovers Tiffany Wonderful Life 1 Aswad 21 Holidaymakers 1 Tiffany 21 Black Last week 1 / 5 weeks FESTIVAL Last week - / 1 weeks VIRGIN Last week 1 / 18 weeks Platinum / WEA Last week 35 / 10 weeks FESTIVAL Alphabet Street New Sensation 1987 Seventh Son Of A Seventh Son 2 Prince 22 Inxs 2 Whitesnake 22 Iron Maiden Last week 3 / 3 weeks WEA Last week 21 / 2 weeks WEA Last week 2 / 13 weeks Gold / EMI Last week 10 / 6 weeks EMI Breakaway Where Do Broken Hearts Go The Lonesome Jubilee Actually 3 Big Pig 23 Whitney Houston 3 John Mellencamp 23 Pet Shop Boys Last week 2 / 10 weeks FESTIVAL Last week 33 / 2 weeks BMG Last week 3 / 24 weeks Platinum / POLYGRAM Last week 15 / 18 weeks Gold / EMI Push It I Saw Him Standing There Bonk Miracle 4 Salt N Pepa 24 Tiffany 4 Big Pig 24 Willy De Ville Last week - / 1 weeks POLYGRAM Last week 6 / 5 weeks WEA Last week 19 / 2 weeks FESTIVAL Last week 41 / 3 weeks POLYGRAM Gimme Hope Jo Anna One Tree Hill The Lion And The Cobra Freight Train Heart 5 Eddy Grant 25 U2 5 Sinead O'Connor 25 Jimmy Barnes Last week 11 / 4 weeks FESTIVAL Last week 18 / 12 weeks Gold / FESTIVAL Last week - / 1 weeks FESTIVAL Last week 14 / 22 weeks Platinum / FESTIVAL Sweet Little Mystery Tell It To My Heart Whenever You Need Somebody The Only Game In Town 6 Wet Wet Wet 26 Taylor Dayne 6 Rick Astley 26 The Warratahs Last week 4 / 5 weeks POLYGRAM Last week 22 / 13 weeks BMG Last week 6 / 19 weeks Platinum / BMG Last week 25 / 14 weeks VIRGIN Pink Cadillac I Need A Man Phantom Of The Opera Turn Back The Clock 7 Natalie Cole 27 Eurythmics 7 Original London Cast 27 Johnny Hates Jazz Last week 7 / 9 weeks EMI Last week 30 / 4 weeks BMG Last week 9 / 45 weeks Platinum / POLYDOR/POLYGRA..
    [Show full text]
  • For It Is Above All Kinds of Sound with Which We Have Become Familiar That Define the Music Culture We Live In.”
    MAN/MACHINE Mot en åpning av soundbegrepet Eirik Askerøi Masteroppgave Institutt for musikkvitenskap Universitetet i Oslo Juni 2005 Forord Prosessen med å ferdigstille denne oppgaven har vært tidkrevende og til tider slitsom, men takket være enkelte personer har den fremfor alt vært svært lærerik. Først og fremst vil jeg få takke professor Stan Hawkins for kritisk og kyndig veiledning og et smittende engasjement i faget. En stor takk også til Jon Mikkel Broch Ålvik for effektiv og grundig korrekturlesing og konstruktive tilbakemeldinger. Jeg har også vært så heldig å nyte godt av berikende samtaler med medstudenter og medmusikere som både i teoretisk og praktisk forstand har bidratt med nyttige perspektiver til oppgaven. Sist, men ikke minst, vil jeg få rette en spesiell takk til Kaja Sjølander Bonnevie, min kjære samboer, for inspirasjon, tålmodighet og uvurderlig støtte. Oslo, juni 2005 Eirik Askerøi II INNHOLD FORORD ................................................................................................................................... II 1. INTRODUKSJON................................................................................................................... 1 1.1. INNLEDNING – BAKGRUNN FOR VALG AV OPPGAVE..................................................................... 1 1.2. PROBLEMSTILLING OG MÅL.......................................................................................................... 3 1.3. TEORI OG METODE.......................................................................................................................
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • The Origins of Iconic Images from NYC's Musical History Explained
    COLUMNS COLUMNS LANDMARKS RECORD THE BRONX The places, spaces, MART and monuments of A column on NYC's musical past, the gear and present, and future. processes that inform in 1958, a young law student named Jesse Moskow- the music we make. itz wanted a job. A friend of his owned a chain of stores in New York’s underground subway system, and needed PAST FEATURED LANDMARKS 1 MAX NEUHAUS’ “TIMES SQUARE” anxiety, the debut LP from Brook- help running one of them: a music shop wedged into a 2 THE THING SECONDHAND STORE lyn experimental R&B artist Autre Ne Veut, sliver of real estate in the Union Square subway stop, 3 THE LOFT came out earlier this year to a great deal directly beneath the S. Klein department store on the 4 MARCY HOTEL of applause. The record is meticulous, but east side of the square. 5 ANDY WARHOL’S FACTORY 1 there’s a warmth and sense of play that isn’t At the time, the music industry was in its infancy, 6 QUEENSBRIDGE HOUSES often heard in sounds that snap to the grid. but records by artists like Elvis had primed the pump, 6 We spoke with producer Joel Ford about and when the Beatles hit, sales really took off. Moskow- 5 how he and his partner Daniel Lopatin re- itz and his business partners noticed many of their cus- 5 QUEENS corded the album. tomers were Puerto Rican immigrants who worked in 5 factories near the square, so they put up a sign soliciting RBMA: How did you get the ANV record to requests from passersby, and by the early ’60s the store 2 sound so loose and lively? was specializing in Latin music: salsa, Cuban, Latin jazz, rumba, merengue, and more.
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • Promo Discodance 80'S
    rank . 55 /60 The “1000” Best of the 80’s 5 10 15 80’s ranking HP WKS Entree >> 31 18 11 7 5 3 3 1 1 1 1 2 5 11 24 16 20 25 29 55 1 16 >> 37 Entr.Dat.> 29 Jun. 1985 DiscoDance Top50 Mercury Save your love - Rene & Angela Amerikaanse zang duo, René Moore geboren 19 Mei 1959. Los Angeles / California & Angela Winbush 18 Jan. St. Louis / Missouri. Actief als duo van 1979 / 1986, door meningsverschil ging het duo uit elkaar. Gingen beide verder als songwriter/ producer. Angela Winbush beleef nog even actief als solozangeres t/m 1994, producer/songwriter o.a. voor Sheena Easton en Stephanie Mills. René Moore zangcarriere stopte in 1988, was o.a. nog songwriter voor Janet & Michael Jackson. Zie ook > 32 . 491 . 1001 5 10 15 80’s ranking HP WKS Entree >> 45 34 28 18 9 5 1 1 1 1 1 2 2 6 10 16 20 25 29 56 1 18 >> 18 29 43 Entr.Dat.> 24 Aug. 1985 DiscoDance Top50 RCA Say i am your no. 1 - Princess Britse zangeres Desiree Heslop geboren 27 Nov. 1961 London/ Engeland. Voordat ze als solo zangeres begon was ze lid van de Ghanese afro rock band ‘Osibisa’. Haar eerste album werd geproduceerd door ‘Stock, Aitken & Waterman’, waar ook “say i am your no.1”op staat. Van haar tweede album ‘all for love’bereikte alleen het nummer ‘red hot’ de US billboard en de uk chart, album flopte. Releases van haar derde album ‘say it’ stond gepland voor 1990 maar werd nooit uitgebracht.
    [Show full text]
  • Dance Music 1985.Qxd
    THE TOP DANCE SONGS OF 1985 1. YOU SPIN ME ROUND (LIKE A RECORD) - Dead or Alive (Epic) 51. DO YOU WANNA GET AWAY - Shannon (Mirage) 2. INTO THE GROOVE- Madonna (Sire) 52. DANCING IN THE STREET - Mick Jagger & David Bowie (EMI) 3. LOVER GIRL - Teena Marie (Epic) 53. JUST A GIGOLO/I AIN’T GOT NOBODY- David Lee Roth (Warner Bros.) 4. CONGA - Miami Sound Machine (Epic) 54. TAKE ON ME -A-Ha (Warner Bros.) 5. GLORY DAYS/I’M GOIN’ DOWN - Bruce Springsteen (Columbia) 55. AXEL F. - Harold Faltermeyer (MCA) 6. DRESS YOU UP- Madonna (Sire) 56. ARE YOU FOR REAL - Deodato (Warner Bros.) 7. PARTY ALL THE TIME - Eddie Murphy (Columbia) 57. COLOR MY LOVE - Fun Fun (TSR) 8. FRESH - Kool and the Gang (De Lite) 58. SUGAR WALLS - Sheena Easton (EMI) 9. IN MY HOUSE - Mary Jane Girls (Gordy) 59. SENSE OF PURPOSE/ONE MORE TIME - Third World (Columbia) 10. DARE ME - The Pointer Sisters (RCA) 60. AND SHE WAS -Talking Heads (Sire) 11. UNEXPECTED LOVERS- Lime (TSR) 61. WE BUILT THIS CITY -Starship (Grunt) 12. OH SHEILA - Ready for the World (MCA) 62. SOME LIKE IT HOT- Power Station (Capitol) 13. FREEWAY OF LOVE/WHO’S ZOOMIN’ WHO - Aretha Franklin (Arista) 63. 19 - Paul Hardcastle (Chrysalis) 14. JUNGLE LOVE-The Time (Warner Bros ) 64. RAIN FOREST - Paul Hardcastle (Profile) 15. EASY LOVER-Philip Bailey (Columbia) 65. JUST ANOTHER NIGHT/LUCKY IN LOVE- Mick Jagger (Columbia) 16. MATERIAL GIRL- Madonna (Sire) 66. PADLOCK - Gwen Guthrie (Island) 17. WALKING ON SUNSHINE - Katrina and the Waves (Capitol) 67.
    [Show full text]
  • Het Verleden in Hiphopmuziek Verwijzingen Naar Het Verleden Van Onderdrukking in De Hiphopcultuur Van De Jaren Negentig
    Het verleden in hiphopmuziek Verwijzingen naar het verleden van onderdrukking in de hiphopcultuur van de jaren negentig. Naam: Joris Martens Studentnummer: S4381459 Begeleider: Dhr. Riswick Inleverdatum: 15-6-2017 Radboud Universiteit Nijmegen Inhoud Inleiding .................................................................................................................................................. 2 Status Quaestionis ................................................................................................................................... 4 Bronselectie en methode ......................................................................................................................... 8 Hoofdstuk 1: ‘Verandering hangt in de lucht’ 1990-1993 .................................................................... 11 Hoofdstuk 2: ‘Hernieuwde assertiviteit’ 1994-1997 ............................................................................. 16 Hoofdstuk 3: ‘Over de grenzen van het genre heen kijken’ 1998-2000 ................................................ 23 Conclusie ............................................................................................................................................... 28 Bibliografie ............................................................................................................................................ 30 Bronnen ............................................................................................................................................. 30 Internet
    [Show full text]