Sylvia Robinson was an American singer, record producer, record label executive. Robinson was best known for her work as CEO of the hip hop label Sugar Hill Records. Robinson is credited as the driving force behind two landmark singles in the hip hop genre. Robinson received a Pioneer Award for her career in singing and being the founder of Sugarhill Records at the 11th Annual Rhythm and Blues Awards Gala in 2000. Robinson died of congestive heart failure on September 29, 2011 at age 76. Robinson was born as Sylvia Vanterpool on May 29, 1935 in Harlem, New York, to Herbert, an immigrant from the Virgin Islands who worked for General Motors, Ida Vanterpool. Robinson attended Washington Irving High School until dropping out at the age of 14, began recording music in 1950 for Columbia Records under the alias "Little Sylvia". In 1954, she began teaming up with Kentucky guitarist Mickey Baker, who taught her how to play guitar. In 1956, the duo now known as Mickey & Sylvia, recorded the Bo Diddley and Jody Williams-penned rock single, "Love Is Strange," which topped the R&B charts and reached number eleven on the Billboard pop charts in early 1957.
After several more releases including the modestly successful "There Oughta Be a Law", Mickey & Sylvia split up in 1959 and she married Joseph Robinson. Sylvia restarted her solo career shortly after her initial split from Baker, first under the name Sylvia Robbins. In 1961, the duo recorded more songs together for various labels including their own, it was distributed by King Records of Cincinnati. They are most noted during this period for singing background vocals on Ike & Tina Turner's hit single, "It's Gonna Work Out Fine". In 1964, frustrated with the music business, Baker moved to Paris. In 1966, the Robinsons moved to New Jersey where they formed a soul music label, All Platinum Records, the following year, with artist Lezli Valentine of the Jaynetts, bringing the label its first hit with "I Won't Do Anything". In 1968, the duo signed a Washington, D. C. act named The Moments, who found success with "Not on the Outside". Within a couple of years and with a new lineup, the group scored their biggest hit with "Love on a Two-Way Street", which Sylvia co-wrote and produced with Bert Keyes and lyrics by Lezli Valentine.
Other hits on the label and its subsidiaries, including Stang and Vibration, included Shirley & Company's "Shame, Shame", The Moments' "Sexy Mama" and "Look at Me", Retta Young's " S. O. S.", the Whatnauts/Moments collaboration, "Girls". Robinson co-wrote and produced many of the tracks, although she was supported by two members of The Moments, Al Goodman and Harry Ray, as well as locally based producers, George Kerr and Nate Edmonds. In 1972, Robinson sent; when Green passed on it due to his religious beliefs, Robinson decided to record it herself, returning to her own musical career. Billed as Sylvia, the record became a major hit, reaching number-one on the R&B chart and crossing over to reach Billboard Hot 100, while reaching #14 in the United Kingdom in the summer of 1973, she was awarded a gold disc by the R. I. A. A. in May 1973. "Pillow Talk"'s subtly orgasmic gasps and moans predated those of the 1975 Donna Summer song "Love to Love You Baby". Reviewing Robinson's 1973 debut LP, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies that it is "Let's Get It On without production values.
Call it underdeveloped if you want. Including the best peace lyric heard entitled'Had Any Lately?'"Robinson recorded four solo albums on the Vibration subsidiary and had other R&B hits including "Sweet Stuff" and "Pussy Cat". "Pillow Talk" was a soulful medium dance number. In the 1970s, the Robinsons founded Sugar Hill Records; the company was named after the culturally rich Sugar Hill area of Harlem, an affluent African-American neighborhood in Manhattan, New York City, known as a hub for artists and performers in the early and mid-1900s. The song "Rapper's Delight", performed by The Sugar Hill Gang, brought rap into the public music arena by attaining one of the first commercially successful hip hop songs and revolutionized the music industry by introducing rap and breakdance. Acts signed to Sugar Hill Records included all-female rap/funk group The Sequence, featuring a teenage Angie Stone, who had a million-selling hit in early 1980 with "Funk U Up". Sugar Hill Records folded in 1985, due to changes in the music industry, the competition of other hip-hop labels, such as Profile and Def Jam and financial pressures.
Robinson, who had by now divorced Joe Robinson, continued her efforts as a music executive, forming Bon Ami Records in 1987. The label was noted for signing the act The New Style, who left and found success as Naughty by Nature. Robinson was married to businessman Joseph Robinson Sr. from May 1959 until his death in 2000. Together they had three children, sons Joseph "Joey" Robinson Jr. Leland Robinson and Rhondo "Scutchie" Robinson. Robinson owned a bar in Harlem, New York named "Joey's Place" after her husband in the 1960s. Robinson owned another New York bar and nightclub named the Blue Morocco during the mid–1960s. Robinson died on the morning of September 29, 2011, at the age of 76, at Meadowlands Hos
Ba-Dop-Boom-Bang is the fifth album released by Grandmaster Flash. It was released in 1987 on Elektra records; the cassette version was titled Ba-Dop-Boom-Bang... And More and the CD version was titled Ba-Dop-Boom-Bang... And Even More -- each containing bonus tracks. European pressings of the album misprinted the title of the track "All Wrapped Up" as "All Rapped Up", it was reissued in the US on CD in 2005 by Collectors' Choice Music. This release omitted any additional tracks; the booklet removed the printed credits and lyrics and replaced them with a new essay by Peter Relic. It repeated the artwork mistake made to the track listing that appeared on the European pressings of the original LP and made an additional one. Side 1 "Ain't We Funkin' Now" – 0:59 "U Know What Time it Is" – 3:23 "Underarms" – 3:09 "Kid Named Flash" – 3:58 "Get Yours" – 3:34 "Them Jeans" – 3:16 "We Will Rock You" – 2:46Side 2 "All Wrapped Up" – 3:16 "Tear the Roof Off" – 2:29 "Big Black Caddy" – 4:03 "House that Rocked" – 4:00 "Bus Dis" – 3:07 "I am Somebody" – 3:34 "Ain't We Funkin' Now" – 1:20 "Ain't We Funkin' Now" – 0:59 "U Know What Time it Is" – 3:23 "Underarms" – 3:09 "Kid Named Flash" – 3:58 "Get Yours" – 3:34 "Them Jeans" – 3:16 "We Will Rob You" – 2:46 "All Wrapped Up" – 3:16 "Tear the Roof Off" – 2:29 "Big Black Caddy" – 4:03 "House that Rocked" – 4:00 "Bus Dis" – 3:07 "I am Somebody" – 3:34 "U Know What Time It Is" – 3:52 "Big Black Caddy" – 4:54 "Ain't We Funkin' Now" – 3:44 "All Wrapped Up" – 5:06 "Kid Named Flash" – 4:58 Side A "Ain't We Funkin' Now" "U Know What Time It Is" "Underarms" "Kid Named Flash" "Get Yours" "Them Jeans" "We Will Rock You" "She's Just A Tease / Ain't We Funkin' Now"Side B "All Wrapped Up" "Tear The Roof Off" "Big Black Caddy" "House That Rocked" "Bus Dis" "I Am Somebody" "Ain't We Funkin' Now / We Will Rob You" "Ain't We Funkin' Now" – 0:59 "U Know What Time it Is" – 3:23 "Underarms" – 3:09 "Kid Named Flash" – 3:58 "Get Yours" – 3:34 "Them Jeans" – 3:16 "We Will Rob You" – 2:46 "All Wrapped Up" – 3:16 "Tear the Roof Off" – 2:29 "Big Black Caddy" – 4:03 "House that Rocked" – 4:00 "Bus Dis" – 3:07 "I am Somebody" – 3:34 "Ain't We Funkin' Now" – 1:20 The rear of the 2005 CD reissue again lists "All Wrapped Up" as "All Rapped Up" and additionally "Bus Dis as "Bus Dis."
The original 1987 CD Ba-Dop-Boom-Bang... And Even More lists the track as We Will Rob You and the writer credits Brian May; the 2005 reissue incorrectly lists the track as We Will Rock You and the writer credit as J. Saddler just like the original vinyl release. Both tracks are identical. Group's Official Website The Kidd Creole's Official WebsiteGrandmaster Flash – Keyboards, emulator on “All Wrapped Up” The Kidd Creole – Lead and background vocals and arranger Rahiem – Lead and background vocals and arranger La Von – Lead and background vocals and arranger Mr. Broadway – Lead and background vocals Larry Love – Dancer Shame – Assistant to the Grandmaster Kev "The Dog" Harris – Light Tech Raymond "Sugar Ray" Holloway – Assistant technician Guy Vaughn: Keyboards and drum programming Larry Smith: Keyboards and drum programming Tanna Gardner: Vocals on “Underarms” Nikki Williams: Vocals on “Big Black Caddy” Edith R. Simmons: Vocals on “Underarms” All arrangements by J. Sadler, L. Smith, G. Vaughn, N.
Glover jr, G. Williams and K. Dukes
Secrets of the Furious Five
Secrets of the Furious Five is an American animated short produced by DreamWorks Animation, which serves as a semi-sequel or spin-off to the animated feature film Kung Fu Panda and appears on a companion disc of the original film's deluxe DVD release. It was broadcast on NBC on February 26, 2009 and is now available as a separate DVD as of March 24, 2009; the film has a framing story of Po the Dragon Warrior telling the stories of his comrades in arms, the Furious Five, which are depicted in 2D cel animation, similar to the opening and end credits of the original film. The only actors from the film to reprise their roles in this short were Jack Black as Po, Dustin Hoffman as Master Shifu, David Cross as Crane, Randall Duk Kim as Master Oogway. Angelina Jolie, Lucy Liu, Jackie Chan and Seth Rogen do not reprise their roles because their related characters are depicted as their younger selves. In this short, Monkey is voiced by son of Jackie Chan. Jaycee Chan voiced Crane in the Cantonese version of the original film.
Production of the film was outsourced to Reel FX Creative Studios, who worked on CG animation, to Film Roman, who worked on traditionally animated sequences. Po is assigned by Master Shifu to teach an introduction to Kung Fu class for a group of rambunctious bunny children. Po tries to explain to the kids that combat is not the only part of what Kung Fu is about, while its true meaning is "excellence of self." To illustrate his point, he uses the stories of the Furious Five's individual pasts and the basic philosophical concepts they learned that enabled them to be great Kung Fu masters. In his youth, Mantis was a petulantly impatient warrior, prone to jumping to conclusions and making impulsive decisions; when this habit got himself captured by crocodile bandits, the long wait he was forced to endure in his cage allowed him to find the patience to play dead long enough to ambush his captors. Viper, the daughter of Great Master Viper, was born without venomous fangs, her father, who relied on his venomous bite to protect the village, was despondent that she could never succeed him as a warrior, making her feel timid.
One night during a festival, Great Master Viper encountered a gorilla bandit who wore armor hard enough to shatter his fangs when he tried to bite him. Seeing her father in peril, Viper found the courage to fight the bandit and defeat him with her ribbon dancing skills. Crane was an unconfident janitor of a Kung Fu academy until the star pupil Mei Ling encouraged him to seek enrollment in the school. Though his nerve failed him at the tryouts, Crane accidentally stumbled into the intimidating challenge that determined eligibility and found the confidence to take the challenge, with his skinny body proving to be an asset that enabled him to succeed. Tigress was an orphan whose status as an apex predator and her destructive lack of control of her strength left her feared and isolated in the rest of the orphanage where she lived. Master Shifu came to kindly teach her the discipline she needed to control her movements until she could perform delicate tasks with ease enough to allay the concerns of the orphanage and the kids that lived there.
When she was again rejected for adoption by the adults who were still scared of her, Master Shifu took her in as his student and foster daughter. Monkey was a troublemaker who tormented his village owing to him being publicly humiliated in his youth, he defied all attempts to force him to leave by removing his assailants' belts that held their pants up until Master Oogway confronted him and defeated him in a fight, deducing the cause of his anti-social behavior. Rather than making him leave the village as per the challenge, Oogway told him to stay and encouraged him to show compassion to others, as he would want in similar circumstances. At the end, Master Shifu returns to see Po's anticipated lack of progress teaching and he's surprised that he underestimated Po's talents yet again, considering how much Po's students have learned, but when the bunnies ask Po how his first day of Kung Fu was, all the unpleasant memories during the original film flash through his head. Jack Black as Po Dustin Hoffman as Shifu David Cross as Crane Randall Duk Kim as Oogway Elizabeth Ann Bennett as Ant / Bunny Jaycee Chan as Young Monkey Jim Cummings as Instructor Jessica DiCicco as Young Viper John DiMaggio as Crocodile Bandit #1 / Gorilla Bandit Carol Kane as Sheep Stephanie Kearin as Crocodile Bandit #2 Max Koch as Young Mantis Stephanie Lemelin as Mei Ling Meredith Scott Lynn as Master Viper's Mom Tom Owens as Ladybug Eamon Pirruccello as Impatient Bunny Grace Rolek as Shy Bunny Will Shadley as Nerdy Bunny James Sie as Great Master Viper Tara Strong as Young TigressNote: Mr Ping didn't appear in the short, only on the DVD cover of the film.
Secrets of the Furious Five has received eight nominations in the "Animated Television Production or Short Form" category at the 36th Annie Awards, of which it received four. The individual DVD release has received much criticism from consumers confusing it for a feature-length production; the UK DVD release is described on the packaging as "The Next Kung Fu Panda Adventure", implying that it is a sequel to the first as opposed to a spin-off. Official website Secrets of the Furious Five on IMDb
Grand Wizzard Theodore
Theodore Livingston, better known as Grand Wizzard Theodore, is an American hip hop DJ. He is credited as the inventor of the scratching technique. In addition to scratching, he gained credibility for his mastery of needle drops and other techniques in which he invented or perfected. Born in the Bronx, New York, Theodore's brother, Mean Gene, was his mentor, who began teaching him the technique of DJing at an early age. Theodore apprenticed under Grandmaster Flash. Though variants of the story exist, it is accepted that Grand Wizzard Theodore was playing records at a high volume in his bedroom. Fed up with his mother entered and ordered him to turn the music down, he looked away from the turntable to face her. While his mother lectured him, he continued moving the record back and forth, which produced a sound all its own; when she left the room he was intrigued by the sound the vinyl made when manipulated in this fashion. After months of experimentation, he introduced this technique at a party and thus scratching was born.
Many forms of popular music have used the technique. A dramatization of Theodore’s invention of the record scratch was featured on Comedy Central’s television show “Drunk History”, narrated by Questlove. In the early 1980s, Theodore was a part of the Fantastic Five, they released "Can I Get a Soul Clap" in 1982. He was featured in the 1983 film Wild Style, as well as contributing to the film's soundtrack, he explains the origin of the scratch in the documentary. Theodore's phrase "Say turn it up" from his track "Fantastic Freaks at the Dixie" was sampled by hip hop and rap acts such as Public Enemy, Bomb the Bass and many others. Hiphop.sh/theo "Grand Wizard Theodore on Peter Rosenberg's "Juan Epstein" podcast". November 4, 2014. Archived from the original on December 15, 2014. DJ Grand Wizzard Theodore Interview - NAMM Oral History Library
Turntablism is the art of manipulating sounds and creating new music, sound effects and other creative sounds and beats by using two or more turntables and a cross fader-equipped DJ mixer. The mixer is plugged into a PA system for live events and/or broadcasting equipment so that a wider audience can hear the turntablist's music. Turntablists manipulate records on a turntable by moving the record with their hand to cue the stylus to exact points on a record, by touching or moving the platter or record to stop, slow down, speed up or, spin the record backwards, or moving the turntable platter back and forth, all while using a DJ mixer's crossfader control and the mixer's gain and equalization controls to adjust the sound and level of each turntable. Turntablists use two or more turntables and headphones to cue up desired start points on different records. Turntablists, who are called DJs prefer direct-drive turntables over belt-driven or other types, because the belt can be stretched or damaged by "scratching" and other turntable manipulation such as slowing down a record, whereas a direct drive turntable can be stopped, slowed down, or spun backwards without damaging the electric motor.
The word turntablist was originated by Luis "DJ Disk" Quintanilla. After a phone conversation with Disk, it was popularised in 1995 by DJ Babu to describe the difference between a DJ who plays and mixes records and one who performs by physically manipulating the records, turntables, turntable speed controls and mixer to produce new sounds; the new term coincided with the resurgence of hip-hop DJing in the 1990s. John Oswald described the art: "A phonograph in the hands of a'hiphop/scratch' artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced—the record player becomes a musical instrument." Some turntablists use turntable techniques like beat mixing/matching and beat juggling. Some turntablists seek to have themselves recognized as traditional musicians capable of interacting and improvising with other performers. Depending on the records and tracks selected by the DJ and his/her turntablist style, a turntablist can create rhythmic accompaniment, percussion breaks, basslines or beat loops, atmospheric "pads", "stabs" of sudden chords or interwoven melodic lines.
The use of the turntable as a musical instrument has its roots dating back to the 1930s, 1940s, 1950s when musique concrète composers did experiments with audio equipment. Experimental composers used them to sample and create music, produced by the turntable. Cage's Imaginary Landscape No. 1 is composed for two variable speed turntables, frequency recordings, muted piano and cymbal. Edgard Varèse experimented with turntables earlier in 1930, though he never formally produced any works using them. Though this school of thought and practice is not directly linked to the 1970s-2010 definition of turntablism within hip hop and DJ culture, it has had an influence on modern experimental sonic/artists such as Christian Marclay, Janek Schaefer, Otomo Yoshihide, Philip Jeck. However, turntablism as it is known today did not surface until the development of hip hop in the 1970s. Examples of turntable effects can be found on popular records produced in the 1960s and 1970s; this was most prominent in Jamaican dub music of the 1960s, among deejays in the Jamaican sound system culture.
Dub music introduced the techniques of mixing and scratching vinyl, which Jamaican immigrants introduced to American hip hop culture in the early 1970s. Beyond dub music, Creedence Clearwater Revival's 1968 self-titled debut album features a backspin effect in the song "Walk on the Water." Turntablism has origins in the invention of direct-drive turntables. Early belt-drive turntables were unsuitable for turntablism, since they had a slow start-up time, they were prone to wear-and-tear and breakage, as the belt would break from backspinning or scratching; the first direct-drive turntable was invented by Shuichi Obata, an engineer at Matsushita, based in Osaka, Japan. It eliminated belts, instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the SP-10, the first direct-drive turntable on the market, the first in their influential Technics series of turntables. In 1971, Matsushuta released the Technics SL-1100. Due to its strong motor and fidelity, it was adopted by early hip hop artists.
A forefather of turntablism was an immigrant from Jamaica to New York City. He introduced turntable techniques from Jamaican dub music, while developing new techniques made possible by the direct-drive turntable technology of the Technics SL-1100, which he used for the first sound system he set up after emigrating to New York; the signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the b-dancers' favorite section, switching back and forth between the two to loop the breaks to a rhythmic beat. The most influential turntable was the Technics SL-1200, developed in 1971 by a team led by Shuichi Obata at Matsushita, which released it onto the market in 1972, it was adopted by New York City hip hop DJs such as Grand Wizard Theodore and Afrika Bambaataa in the 1970s. As they experimented with the SL-1200 decks, they developed scratching techniques when they found that the motor would continue to spin at the correct R
White Lines (Don't Don't Do It)
"White Lines" is a song by Melle Mel, released as a 12" in 1983 on Sugar Hill Records. The song, which warns against the dangers of cocaine and drug smuggling, is one of Melle Mel's signature tracks; the bassline is taken from a performance of the Sugar Hill house band covering "Cavern", a single by New York City band Liquid Liquid. When released on Sugar Hill Records, the record was credited to Grandmaster & Melle Mel; this was done to mislead the general public into believing that Grandmaster Flash participated on the record, when in fact he played no part and had left the Sugar Hill Records label the previous year. "White Lines" peaked at No. 47 on the Billboard Hot Black Singles chart in 1983. The song fared better in the United Kingdom, reaching number 7 on the UK Singles Chart in July 1984, spending 17 consecutive weeks in the top 40, it was the 13th best-selling single of 1984 in the UK, selling more than several number one hits that year. The song was co-written by Sylvia Robinson, it was intended to be an ironic celebration of a cocaine-fueled party lifestyle, but it was abridged with the "don't do it" message as a concession to commercial considerations.
The lines "A businessman is caught with 24 kilos / He's out on bail and out of jail and that's the way it goes" refers to car manufacturer John DeLorean, who in 1982 became entrapped in a scheme to save his company from bankruptcy using drug money. Some of the lyrics in "White Lines" echoed lyrics from the song "Cavern" by Liquid Liquid from which the famous bassline was borrowed; as discussed in a 2011 article in the Village Voice, the entire "White Lines" was a note-by-note appropriation of "Cavern", with a rapping track overlaid. An unofficial music video was directed by New York University film student Spike Lee and starred actor Laurence Fishburne. In 1988, the song was used as part of an anti-heroin public information film in the United Kingdom. A 1995 cover version of "White Lines" featuring performances from Grandmaster Flash and Melle Mel was released as the second single from the Duran Duran covers album Thank You; the single reached No. 17 on the UK Singles Chart, No. 5 on the US Dance Club Songs chart, No. 20 in Australia and No. 31 in New Zealand.
The band continues to perform the song as a regular part of their live set. This single had more promo releases than most bands have releases, across this myriad of 12" and CD singles the band released more than 20 distinct remixes and edits of "White Lines", many of which were crafted by DJ Junior Vasquez. Apart from the singles and the Thank You album, the song appeared as a B-side on the first single from the album, "Perfect Day". A black and white video was shot in January 1995 by Nick Egan, featuring Duran Duran, Melle Mel, the Furious Five performing the song accompanied by breakdancers and people in skeleton masks. On July 8, 2009, The Late Late Show with Craig Ferguson did a lip sync version of the Duran Duran cover featuring puppets on backing vocals. Group's Official Website The Kidd Creole's Official Website White Lines at Discogs White Lines at Discogs
"Rapper's Delight" is a 1979 hip hop track by the Sugarhill Gang and produced by Sylvia Robinson. While it was not the first single to include rapping, "Rapper's Delight" is credited for introducing hip hop music to a wide audience, it was a prototype for various types of rap music, incorporating themes such as boasting, dance and sex, with the charisma and enthusiasm of James Brown. The track interpolates Chic's "Good Times", resulting in Chic’s Nile Rodgers and Bernard Edwards suing Sugar Hill Records for copyright infringement. "Rapper's Delight" is number 251 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time and number 2 on VH1's 100 Greatest Hip-Hop Songs. It is included in NPR's list of the 100 most important American musical works of the 20th century, it was preserved into the National Recording Registry by the Library of Congress in 2011. Songs on the National Recording Registry are "culturally or aesthetically significant."The song was recorded in one single take.
There are three versions of the original version of the song: 14:35, 6:30, 3:55. In late 1978, Debbie Harry suggested that Chic's Nile Rodgers join her and Chris Stein at a hip hop event, which at the time was a communal space taken over by teenagers with boombox stereos playing various pieces of music that performers would break dance to. Rodgers experienced this event the first time himself at a high school in the Bronx. On September 20 and 21, 1978, Blondie and Chic were playing concerts with The Clash in New York at The Palladium; when Chic started playing "Good Times", rapper Fab Five Freddy and the members of the Sugarhill Gang, jumped up on stage and started freestyling with the band. A few weeks Rodgers was on the dance floor of New York club Leviticus and heard the DJ play a song which opened with Bernard Edwards's bass line from Chic's "Good Times". Rodgers approached the DJ; the song turned out to be an early version of "Rapper's Delight", which included a scratched version of the song's string section.
Rodgers and Edwards threatened legal action over copyright, which resulted in a settlement and their being credited as co-writers. Rodgers admitted that he was upset with the song, but declared it to be "one of his favorite songs of all time" and his favorite of all the tracks that sampled Chic, he stated: "As innovative and important as'Good Times' was,'Rapper's Delight' was just as much, if not more so."A substantial portion of the early stanzas of the song's lyrics was borrowed by Jackson from Grandmaster Caz who had loaned his'book' to him—these include a namecheck for "Casanova Fly", Caz's full stage name. According to Wonder Mike, he had heard the phrase "hip-hop" from a cousin, leading to the opening line of "Hip-hop, hippie to the hippie, to the hip-hip-hop and you don't stop", whilst he described "To the bang-bang boogie, say up jump the boogie to the rhythm of the boogie, the beat" as "basically a spoken drum roll. I liked the percussive sound of the letter B"; the line "Now what you hear is not a test, I'm rappin' to the beat", was inspired by the introduction to The Outer Limits.
Before the "Good Times" background starts, the intro to the recording is an interpolation of "Here Comes That Sound Again" by British studio group Love De-Luxe, a dance hit in 1979. According to Oliver Wang, author of the 2003 Classic Material: The Hip-Hop Album Guide, recording artist and studio owner Sylvia Robinson had trouble finding anyone willing to record a rap song. Most of the rappers who performed in clubs did not want to record, as many practitioners believed the style was for live performances only, it is said. According to Master Gee, Hank auditioned for Robinson in front of the pizza parlour where he worked, whilst Gee himself auditioned in Robinson's car. A live band was used to record most of the backing track, including members of the group "Positive Force": Albert Pittman, Bernard Roland, Moncy Smith, Bryan Horton. Chip Shearin claimed during a 2010 interview. At the age of 17, he had visited a friend in New Jersey; the friend knew Robinson, who needed some musicians for various recordings, including "Rapper's Delight".
Shearin's job on the song was to play the bass for 15 minutes straight, with no mistakes. He was paid $70 but went on to perform with Sugarhill Gang in concert. Shearin described the session this way: The drummer and I were sweating bullets because that's a long time, and this was in the days before samplers and drum machines, when real humans had to play things.... Sylvia said, ` I've got these kids. Wang said: There's this idea that hip-hop has to have street credibility, yet the first big hip-hop song was an inauthentic fabrication. It's not like the guys involved were the'real' hip-hop icons of the era, like Grandmaster Flash or Lovebug Starski. So it's lightning in a bottle. Michael "Wonder Mike" Wright - Vocals Henry "Big Bank Hank" Jackson - Vocals Guy "Master Gee" O'Brien - Vocals Unknown - turntables Bernard Roland or Chip Shearin - electric bass Albert Pittman or Brian Morgan - electric guitar Moncy Smith - piano Bryan Horton - drums Sylvia Robinson - additional vocals and production Billy Jones - engineer Phil Austin