Back in 1970’s New York, DJ’s such as Kool Herc and Afrika Bambaataa had found a novel way of extending the percussive breaks of popular songs by using two copies of the same record and two turntables to create a continuous loop of the beat. The product of this was not only to create a platform for MC’s to rap over, or for B-Boys to breakdance, it also formed the fundamental principle of modern DJing by creating extended sets of music without any gaps between the songs.
This also coincided with the time that early drum machines and samplers had come onto the market which allowed music to be produced in people’s homes without the need for hiring expensive studios. The Roland TR808 was one of the first pieces of kit to be adopted by DIY producers and gave early electro tracks their distinctive percussive sounds like handclaps, high-hats, and cowbells whilst the Roland Jupiter 4 provided the futuristic sci-fi pads. Early 80’s electro was heavily influenced by the Godfathers of electronic music Kraftwerk, who’s robotic and emotionless demeanour may seem like an odd inspiration for a scene that promoted energetic release and expression. The groundbreaking track ‘Planet Rock’ By Afrika Bambaataa sampled a section of Kraftwerk’s 1977 track ‘Trans Europe Express’ and was highly regarded as a turning point in the scene.
I was still in nappies when all of this was happening, so I’m probably not the best person to be talking about this – the history of electronic music and Hip Hop has been documented elsewhere by people who know their onions far more than I do. However what I did want to draw attention to was just how much the original electro sound influenced the original UK breakbeat movement.
“Any DJ set from 91-93 is practically guaranteed to be littered with numerous samples that originally came from Electro. A guy called Gerald, DJ Crystl, Danny Breaks, DJ Hype, and Goldie are all jungle/drum & bass pioneers that originally came from an early Hip Hop/electro pedigree and their musical heritage was evident in all corners of the scene. From the original B-Boy mentality of bringing people together, to the graffiti artwork on labels such as Suburban Base and Deejay, to the way DJ’s incorporated cutting and scratching techniques… electro’s influence could be found everywhere. Of course the biggest influence was to be found in the
music itself. Any DJ set from 91-93 is practically guaranteed to be littered with numerous samples that originally came from Electro, whether it’s a whole riff, a vocal snippet, or a simple sound effect. In the mix below you will hear the original sample source for early breakbeat hardcore tracks such Q Project’s ‘Impact’, Egyptian Empire’s ‘Horn Track’ and Tayla’s ‘Bang The Drums’ amongst many others.....Alasdair Watson ·
By combining the repetitive rhythms and grooves of early Detroit House and Techno with the energetic breakbeats and sampling ethic of electro, UK producers would find their own sound. The building blocks had been put in place and the sophistication with which breakbeats and basslines would be eventually manipulated all originated from these humble beginnings.
by Alasdair Watson
Doug E Fresh – The Show (Cool Tempo)
Whistle – (Nothing Serious) Just Buggin’ (Select)
Whodini – Freaks Come Out At Night (Jive)
Newcleus – Jam On Revenge (Sunnyview)
Aleem – Release Yourself (Streetwave)
Rockers Revenge – Walking On Sunshine (London)
Whodini – Magic’s Wand (Jive)
Man Parrish – Boogie Down Bronx (Boiling Point)
Man Parrish – Hip Hop Be Bop (Polydor)
Newcleus – Jam On It (Sunnyview)
Ollie & Jerry – Breakin’ (Polydor)
Hot Streak – Body Work (Polydor)
Paul Hardcastle – 19 (Chrysalis)
The Beat Club – Security (Pizazz)
Wired – To The Beat (ZYX)
Hashim – Al Naafiysh (Cutting)
Kraftwerk – It’s More Fun To Compute (Kling Klang)
Cybotron – Clear (Fantasy)
Egyptian Lover – Egypt, Egypt (Freak Beat)
Chris “The Glove” Taylor – Reckless (Polydor)
Kraftwerk – Tour De France (EMI)[/toggle]
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