Blasting out like a rocket. Futuresoundstemporary has come of age and with their first of what no doubt will become a legendary mix series. In this first ever mix Simon Kemp (Virtual Programming) lays down a series of sublime grooves in celebration of the ephemeral beauty of fireworks.
In his own words:
“Searching the web for a suitable playlist for this years fireworks and bonfire spectacular did not yield any great results. This led me to discussing to myself why there isn’t any fireworks related mixes. For a wonderful invention that brings joy to literally everybody I know (apart from burn victims) there sure is a lack of musical reference to the lights of the sky. So I set about planning and compiling this mix. “
In 1935 American Walter Winchell coined the term disc jockey. Nearly ten years after in 1943 the one-man jumpsuit Jimmy Saville spun at the world’s first DJ dance event playing jazz records. 4 years later he was also the first to utilise two turntables together for continuous play. In the same year ‘Whiskey a Go-Go opened in Paris and was known to be the world’s first disco. Leading up to 1950, sound systems were beginning to be utilised in Jamaica as a new form of public entertainment. Nearly twenty years later DJ Francis Grasso popularized beat matching in New York. And finally in 1975 DJ Grand Wizard Theodore invented the scratching technique.
Yo people, I’ve just got a short one for you on this Friday evening as I’m disappearing soon for a delightful session of cheeky drinks. So here’s something that you probably won’t hear in any clubs, but for those musical explorers out there you can certainly move to this and likewise be able to revel in your astute musical knowledge. Juke/Footwork is pretty much limited to a few quarters in the US but it’s lineage is worldwide. Our boy Simon Kemp wrote a piece in Virtual Programming that rejoices in the virtue of said scene. However we’ve come across this sick mix by Leatherface, featuring some rising stars of those vernacular sounds and noises. Unfortunately we can’t the full mix on mp3 to you so you’re gonna have to just follow the link provide and see for yourself.
So we don’t usually do this sorta thing but hell, we couldn’t damn well resist it. This is She’s So Divine released on 12″ back in 1982, composed by two Dutch producers under the name The Limit. Bernard Oattes and Rob Van Shalk had numerous hits with that name and went on to release an album with a number 17 hit in the UK Singles Chart. If you haven’t read our feature on the rise and fall of UK funk then head over to Virtual Programming and bury your head deep in a vault full of amazing tracks.
virtual programming: Brit funk, gone but not forgotten?
In the late 1970s to early 80s, Britain was in a musical whirlpool. The aftermath of prog-rock, jazz and heavy influence in commercial media from stateside funk and soul acts created a fresh tablet for new artists to draw upon. Around this time racial boundaries had been broken down and both black and white artists began to work together, draw influence from each other and even perform together without any hassle. It was an exciting time; one could compare it even to now in terms of pure mystery to what you might hear tomorrow. However, something happened in the mid 80s that totally wiped out this sound, replacing it with a cleansed, more commercial sound. The blame is hard to pin upon any one particular person or group, but it is a very interesting subject and one that personally I find difficult to fully realise.