Peanut Butter Wolf
Christopher George Manak, better known by his stage name Peanut Butter Wolf, is an American disc jockey and record producer from San Jose, California. He is based in Los Angeles, where he moved to in 2000, he is the founder of Stones Throw Records. Having first met in 1989, Peanut Butter Wolf and rapper Charizma became friends and started making music together. Although they made a name in San Jose and the Bay Area through their live shows and demo tapes, Charizma was shot dead in 1993. In 1996, Peanut Butter Wolf founded Stones Throw Records, which would release the duo's Big Shots in 2003. In 1999, Peanut Butter Wolf released, it peaked at number 44 on the UK Independent Albums Chart. In 2010, Jeff Weiss of Los Angeles Times called it "a crate-digging classic that remains one of the seminal statements of the underground golden era." My Vinyl Weighs a Ton Big Shots Peanut Butter Breaks Peanut Butter Wolf's Jukebox 45's Chrome Children Chrome Children Vol. 2 B-Ball Zombie War Straight to Tape 1990-1992 Circa 1990-1993 Fusion Beats Badmeaningood Vol.3 666 Mix Chrome Mix Zombie Playoffs Ladies First Be Our Valentine Step on Our Ego's?
Lunar Props Styles, Flows, Beats Big Shots Bonus EP "My World Premiere" "Run the Line" b/w "The Undercover" "Definition of Ill" "Tale of Five Cities" "Devotion" "Here's a Smirk" "Jack the Mack" Deltron 3030 - "St. Catherine St." from Deltron 3030 Kool Keith - "Wanna Be a Star" Peanut Butter Wolf at Stones Throw Records Peanut Butter Wolf at AllMusic Peanut Butter Wolf discography at Discogs
A DJ mix or DJ mixset is a sequence of musical tracks mixed together to appear as one continuous track. DJ mixes are performed using a DJ mixer and multiple sounds sources, such as turntables, CD players, digital audio players or computer sound cards, sometimes with the addition of samplers and effects units, although it is possible to create one using sound editing software. DJ mixing is different from live sound mixing. Remix services were offered beginning in the late 1970s in order to provide music, more beatmixed by DJs for the dancefloor. One of the earliest DJs to refine their mixing skills was DJ Kool Herc. Francis Grasso was the first DJ to use headphones and a basic form of mixing at the New York City nightclub Sanctuary. Upon its release in 2000, Paul Oakenfold's Perfecto Presents: Another World became the biggest selling DJ mix album in the US. A DJ mixes music from genres. Other genres mixed by DJ includes hip hop and disco. Four on the floor disco beats can be used to create seamless mixes so as to keep dancers locked to the dancefloor.
Two of main characteristics of music used in DJ mixes is a dominant repetitive beats. Music mixed by DJs has a tempo which ranges from 120 bpm up to 160 bpm. A DJ mixset is performed live in front of an audience in a nightclub, party, or rave setting. Mixsets can be performed live on radio or recorded in a studio. Methods of mixing vary depending on the music genres being played. House and trance DJs tend to aim for smooth blended mixes while hip-hop DJs may use turntablism and other cutting techniques; some DJs those mixing Goa trance may prefer to mix during a break in which instead of beats, washes of synthesized sounds are combined. Further refinement to the mixing quality can be provided with harmonic mixing which avoids dissonant tones during a mix. In live situations, the progression of the DJ set is a dynamic process; the DJ chooses tracks in response to the activity on the dance floor. If the dance floor becomes less active, the DJ will make a judgement as to what track will increase dance floor activity.
This may involve changing the general mood of the set. Track choices are due, in part, to where the DJ wishes to take his or her audience. In this way, the resulting mixset is brought about through a symbiotic relationship between audience and DJ. Studio DJs have the luxury of spending more time on their mix, which leads to productions that could never be realized in real-time. Traditional DJ mixing with vinyl required the DJ sync tracks tempo and the modify each tracks volume and equalisation to create a smooth blend. DJs can use a mixer's crossfader to switch between tracks or use the volume control for each source with the crossfader permanently positioned in the middle. Mixing is done through the use of headphones and a monitor speaker or foldback as basic aids. At this basic level the DJ is required to develop a specific auditory skill where each track's tempo had to be distinguished while listening to more than one piece of music; the use of compact discs and players such as the CDJ by DJs brought technological advances for the DJ performing a mix including a readout of the bpm and a visual representation of the beat.
Modern computer technology has allowed automatic beatmatching and led to debate regarding its use, sometimes described as cheating. DJ software provides automatic key detection which simplifies harmonic mixing. To be released commercially, DJ mixes need many copyright clearances and licenses; the vast majority of DJ mixes throughout the years have only been legal in so far as the copyright holders do not choose to take legal action against the DJ for the authorized use of their material. DJs distribute their recorded mixes on CD-Rs or as digital audio files via websites or podcasts for promotional purposes. Many popular DJs release their mixes commercially on a compact disc; when DJ sets are distributed directly via the Internet, they are presented as a single unbroken audio file. Medley Segue Is a Mixset a Piece of Art? by Brent Silby ─ article provides argument to support the claim that a DJ Mixset is a form of art
DJ-Kicks: C. J. Bolland
DJ-Kicks: C. J. Bolland is a DJ mix album mixed by C. J. Bolland, it was the first album in the DJ-Kicks series, was released on 4 September 1995 on the Studio! K7 independent record label. Patrick Pulsinger - Construction Tool Damon Wild & Tim Taylor - Bang the Acid Joey Beltram - Drome Magenta - Memory Panic Bandulu - Presence Nexus 6 - AB-Chic B. C. - Stronghold Manuel & Clive - Recognised Planetary Assault Systems - In From the Night Rotor Type - Be Yourself Clementine - Syn Son Sound Enforcer - Re-Enforcement Paramatrix - Transverse Waves Planetary Assault Systems - Starway Ritual Phrenetic System - Wayfarer Official website DJ-Kicks website
Hip hop music
Hip hop music called hip-hop or rap music, is a music genre developed in the United States by inner-city African Americans in the late 1970s which consists of a stylized rhythmic music that accompanies rapping, a rhythmic and rhyming speech, chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, graffiti writing. Other elements include sampling beats or bass lines from records, rhythmic beatboxing. While used to refer to rapping, "hip hop" more properly denotes the practice of the entire subculture; the term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music. Hip hop as both a musical genre and a culture was formed during the 1970s when block parties became popular in New York City among African-American youth residing in the Bronx; however hip-hop music did not get recorded for the radio or television to play until 1979 due to poverty during hip-hop's birth and lack of acceptance outside ghetto neighborhoods.
At block parties DJs played percussive breaks of popular songs using two turntables and a DJ mixer to be able to play breaks from two copies of the same record, alternating from one to the other and extending the "break". Hip hop's early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, a chanting vocal style, was used over the beats. Rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. Notable artists at this time include DJ Kool Herc, Grandmaster Flash and The Furious Five, Fab Five Freddy, Marley Marl, Afrika Bambaataa, Kool Moe Dee, Kurtis Blow, Doug E. Fresh, Warp 9, The Fat Boys, Spoonie Gee; the Sugarhill Gang's 1979 song "Rapper's Delight" is regarded to be the first hip hop record to gain widespread popularity in the mainstream. The 1980s marked the diversification of hip hop.
Prior to the 1980s, hip hop music was confined within the United States. However, during the 1980s, it began to spread to music scenes in dozens of countries, many of which mixed hip hop with local styles to create new subgenres. New school hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. and LL Cool J. The Golden age hip hop period was an innovative period between the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, Eric B. & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that focuses on the violent lifestyles and impoverished conditions of inner-city African-American youth. Schoolly D, N. W. A, Ice-T, Ice Cube, the Geto Boys are key founding artists, known for mixing the political and social commentary of political rap with the criminal elements and crime stories found in gangsta rap.
In the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s with artists such as Dr. Dre and Snoop Dogg. East Coast hip hop in the early to mid 1990s was dominated by the Afrocentric jazz rap and alternative hip hop of the Native Tongues posse as well as the hardcore rap of artists such as Mobb Deep, Wu-Tang Clan, Onyx. East Coast hip hop had gangsta rap musicians such as Kool G Rap and the Notorious B. I. G.. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap and Atlanta hip hop. At the same time, hip hop continued to be assimilated into other genres of popular music, examples being neo soul and nu metal. Hip hop became a best-selling genre in the mid-1990s and the top selling music genre by 1999; the popularity of hip hop music continued through the 2000s, with hip hop influences increasingly finding their way into mainstream pop. The United States saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics.
Starting in 2005, sales of hip hop music in the United States began to wane. During the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. During the late 2000s and early 2010s, rappers such as Lil Wayne, Soulja Boy, B.o. B were the most popular rappers. During the 2010s, rappers such as Drake, Nicki Minaj, J. Cole, Kendrick Lamar all have been popular. Trap, a subgenre of hip hop has been popular during the 2010s with hip hop artists and hip hop music groups such as Migos, Travis Scott, Kodak Black; the creation of the term hip hop is credited to Keith Cowboy, rapper with Grandmaster Flash and the Furious Five. However, Lovebug Starski, Keith Cowboy, DJ Hollywood used the term when the music was still known as disco rap, it is believed that Cowboy created the term while teasing a friend who had just joined the U. S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of soldiers marching.
Cowboy worked the "hip hop" cadence into a part of his stage performance, used by other artists such as The Sugarhi
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
DJ-Kicks: Playgroup is a DJ mix album, mixed by Playgroup known as Trevor Jackson. It was released on 1 July 2002 on the Studio! K7 independent record label as part of the DJ-Kicks series. We - Maurice Fulton Presents Boof You're God - Ana Rago Ciquri - Material Set It Off - Harlequin 4's / Bunker Kru Tainted Love - Impedance Broken Mirror - Random Factor Ma Boom Bey - Cultural Vibe Caught Up - Metro Area The Sky Is Not Crying - Tiny Trendies To Our Disco Friends - Smith N Hack Tunnel Music - Zongamin No Communication, No Love - Charles Schillings March Of General - Nigo Buggin' Becky - J-Walk Let's Get Jazzy - KC Flightt Do Or Die - The Human League Anti Social Tendencies - The Parallax Corporation Behind The Wheel - Playgroup Get Up, Get Out - Ralphi Rosario Still Hott 4 U - Bobby O I Don't Care - Dexter Gonna Make You Sweat - Wanda Dee House Of Jealous Lovers - The Rapture Money B - The Flying Lizards DJ-Kicks website
DJ-Kicks: Trüby Trio
DJ Kicks: Trüby Trio is a DJ mix album, mixed by Trüby Trio. It was released on 27 August 2001 on the Studio! K7 independent record label as part of the DJ-Kicks series. "Medley: General Science/Ish/PapaLaBas" - Conjure - 4:40 "High Jazz" - Trüby Trio - 7:01 "Find an Oasis" - Block 16 - 5:14 "Edony'Clap Your Hands'" - Africanism ft. Hassam Ramzy - 4:07 "Scat Box" - Matthaus - 2:10 "Granada" - Slow Supreme - 4:37 "Upsolid" - Sequel - 6:03 "Transcend Me" - Afronaught - 7:13 "Some People" - Korova - 5:06 "One and the Same" - Modaji - 5:45 "Colours" - Tim Hutton - 7:06 "Ginger & Fred" - Voom:Voom - 6:25 "Galicia" - Trüby Trio - 5:18 "Toronto" - Lehner & Biebl - 3:45 "Tel Aviv" - Fauna Flash - 4:05 DJ-Kicks website