In Clifford Price aka Goldie and Rob Playford united as a duo, chose the name Metalheads and released the record which set the tone for the industry if not was actually ahead of its time.
Terminator E P hits the listener with its crazy energy and somewhat savage sound, brutal force verging on aestheticism.
And now a few words on what makes jungle the genre that it is. Jungle is impossible without the amen break. And the amen break would be impossible without a funk group The Winstons releasing a track named Amen, brother in as a part of the Color him father single.
Yet this 6 second long sample turned out to be priceless. The amen break was sampled and used as a percussion part of a track even before jungle. Track by track, the amen break got widely used in hip hop and then made its way into jungle where it adjusted and carved out its place. Amen break is the most typical foundation of ragga jungle tracks. And the way this small break managed to form the basis for an entire genre does call for an amen, brothers and sisters!
In Johnny Jungle released Johnny —a horror track with a sped up amen break which sounded like a revelation at the time. Those engaged in developing jungle realized that something had changed. Jungle was acquiring its distinctive features; it went beyond the influence of hardcore and set out for a solo journey. With new tracks released every day and musicians improvising on the spot during their club sets, jungle was sounding less and less like hardcore, its predecessor. It is known for sure that in summer Fabio and Grooverider, the residents of the Rage club, started to play the hardcore vinyl records not at their regular speed — bpm but at bpm which separated the uprising jungle from hardcore that was getting too commercial and left little space for expressing creativity.
That was the moment went the trend for speeding tracks up was born. James Brown Funky drummer Speaking of the word jungle, you probably will not find such a great number of versions and stories related to the origin of the name in any musical genre.
The reason why the style was called jungle is unclear. Some say that the name comes from the compilation album Into the jungle groove by the king of funk James Brown since it featured a song Funky drummer where a drum fill significant for jungle was used. The other version is rooted in the Jamaican origin of jungle since that deep, thumping bass line was taken from dub, a subgenre of reggae.
Legend has it that local MCs who were also DJs often referred to as toasters actively used the words jungle, junglist and the expression jungle music while rapping. Some said that the word jungle celebrates the African culture and hints on the fact that black people are the best at creating complex rhythm patterns.
There is a ring of truth to it since you may associate jungle with the American hip hop that was born in ghettos and for a certain period of time was distanced from other communities. For the first few years nobody but the black people could actually experience this music, the black community was far from welcoming towards outsiders.
There are versions that refer to the jazz music that is also invented by black people, particularly, to Duke Ellington. His pieces infused with exotic rhythm patterns were often denoted as jungle music while one of the pseudonyms of the orchestra that he worked with from the s to the late s was The Jungle Band. The Jungle Band Tiger rag It is also believed that jungle was called jungle because the complexity of the rhythm patterns, the fast tempo and the overall dark feel of the music due to distinctive bass lines make the listener feel as if he was running through impenetrable jungle being chased by an animal.
Musicians of early jungle attribute the name to Danny Jungle who heard the signs of a new style soon to be evolved from breakbeat and called it that way. Tune to that new one—Kool FM. Some rave or other. Ring up the number, then the other number. Check out that one in West London, well, Harlesden.
More beats than in Hardcore. It was good. A kid that comes up today will sample rare groove and put it in his jungle without understanding anything about that. V Records boss Bryan Gee grew up listening to reggae soundsystems and was perfectly placed to embrace the acid house explosion in London at the end of the 80s. Bryan was among a group of DJs including Jumpin Jack Frost, Fabio and Grooverider to champion it via pirate radio and parties, much to the chagrin of their Black peers and community in those early days, who were more used to hearing them play funk, soul, reggae and rare groove and apprehensive about this new form of Black music.
There was also a scepticism about the rave movement thanks to highly publicised stories of drug taking in the tabloid press. They persevered however, with Bryan plugging into the deep frequency between the Black artists making house and techno in Chicago and Detroit, the Black DJs who were buying the records in the UK and what he felt was a sonic imagining of Africa, as if instruments like the Talking Drum of West Africa had been rendered electronic.
For us as Black people in Brixton to be playing acid music was like a sin. Sometimes music has to be experienced in that environment to understand it. I had dreadlocks and my name on radio was Funky Dread and we were playing this crazy, mad music and people shunned us. The early techno was made by Black producers in America.
Some of it was made by crazy white people in Europe and you could hear the difference between the music. There was this guy called Danny Jungle. He was a very loud character, everybody knew him, he was always expressing himself. He would always blow his horn when a tune had that ghetto b-line! For me, the sound of the jungle is the African drums and the birds and the atmospheric vibe about it. And the music was strictly African influences, fusing the techno and the acid with the African tribal beats.
That was what we were hearing dem times there. That was jungle. If you do your homework, check it out. It made us feel like we were on the right path. When I went to jungle raves it was predominantly Black faces. Somehow we lost it. A lot of people got into jungle because of the Blackness. I could talk to my family, they wanted guestlist, they wanted CDs, they could understand it when it was jungle.
They all knew the originals to be reggae music. Dem times there were very Black. Reason why? It was massive. The pair blew her mind and, alongside DJ Rap, became a major inspiration for her as a young, aspiring selector.
The DJs who inspired Flight were some of the only women to be featured prominently on line-ups in the mid 90s and, as Flight details below, not too much has changed in This was the early 90s so he was playing early hardcore and breakbeats. The House That Jack Built was the name of the show and it was really just rave music, he was a Black DJ as well [In Jackson would take Kiss FM to court over unfair dismissal based on race when he was suddenly sacked from his popular morning show Morning Glory].
When I was first going out it was really mixed, and that's what fully made me fall in love with the music, I felt completely comfortable, completely at ease. There were Black kids, Asian kids, white kids, mixed kids… All different kids and when I graduated to the proper raves, again it was a whole mixture of people.
At some of the more ragga-style jungle dances, or dances where it was slightly darker in sound, it would be Black people. This party Innovation was doing a London club tour in and one of the events was at SW1 in Victoria and it was packed and DJ Rap was playing and it was really good and then I just saw these women appear behind the booth who looked quite funky and I just thought, oh they must be her mates, but then they took their jackets off and got their records and dubplates ready and I was like, wow!
And they came up to the decks and it was Kemistry and Storm. I saw Kemi — bleached locks, light skinned, looked stunning — I was just like, wow! They played and just blew my head off. What they played was different to everybody else too, it was deeper, it was darker. They blew me away, it was the first time I saw them and I became their number one fan. Chickaboo is another one. She was the first woman jungle MC. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles.
Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre.
One of the more common and traditional elements is a prominent snare drum falling on the second and fourth beats. There has been considerable exploration of different timbres in the bass line region, particularly within techstep.
The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of artists such as Shapeshifter, Squarepusher, Roni Size and STS9.
Sampled basslines are often taken from double bass recordings or from publicly available loops. The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. A listener or dancer can concentrate on this element rather than the faster drums. The faster a track is in BPM terms, the less complex its drum patterns can be because at higher step the elements cease to be heard separately, turning them into a wall of sound.
These rules do not apply to a production from single drums IE, drum machines, sequencers, sliced beats. It exhibits a full frequency response which can only be appreciated on sound systems which can handle very low frequencies.
There are however many albums specifically designed for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening. Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise.
When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance. DJ support that is playing a track in a club atmosphere or on radio is critical in track success, even if the track producer is well known.
To this end, DJs will receive dub plates a long time before a general release of a track, sometimes many months before, in order to spark interest in it as well as benefit the DJ exclusive and early access to tracks is a hallmark of DJ success, EG, the case of Andy C.
Many producers release albums and tracks which touch into many of the above styles and there are significant arguments as to the classification of tracks as well as the basic defining characteristics of subgenres.
The list of arguable subgenres in particular should not be treated as definitive. Clipz often produces songs adhering to the clownstep sound. Jungle vs. The truth is more complicated than this, however.
After a while, tracks using the Amen break virtually had a genre all of their own. This reflected a change in the musical style which incorporated increased drum break editing.
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