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Todd Terry defined New York house during the '80s, blending the sounds of classic disco, the more introspective Chicago sound pioneered earlier in the decade, plus plenty of hip-hop attitude and sampling piracy. Here's his first album making his first point with a Kraftwerk sample. He's present in several guises on the next album, Esta Loca (New York Freestyle House), a great and unmixed compilation of music that started off the nineties dancefloor . Finally mister Chikki Chikki Ahh Ahh but that would be selling him short
Peter Ford is still in the game, still making serious noise, minimal techno that is, and here is his third, a full cd length (79min) album that winds around everything that makes techno so versatile.
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The Todd Terry Project - To The Batmobile Let's Go (88 ^ 99mb)
Born in Brooklyn, Terry began DJing in the early '80s while still a teenager, spinning hip-hop at school events and on the street with a team called the Scooby Doo Crew. He increasingly listened to Italian disco as well, and when the house sound of Chicago dropped in the mid-'80s, Terry the DJ made an official switch to house music. In league with fellow New York DJ/producer/remixers Little Louie Vega and Kenny "Dope" Gonzalez, Terry borrowed the Masters at Work guise -- which Vega and Gonzalez would later popularize -- for one of his first big productions, the 1987 single "Alright Alright"; the single became a milestone on New York's early house scene. The Jungle Brothers, another crew of hip-hop heads who were beginning to stray into house, hooked up with Terry and the collaboration resulted in "I'll House You," one of the earliest and most high-profile fusions of hip-hop and house .
The added prestige transferred back to his own name for two wildly popular 1988 singles, "Weekend" and "Bango (To the Batmobile)," both released as the Todd Terry Project. Perhaps preferring the adoration of the faithful, Terry later resorted to dozens of aliases for dozens of club hits --Black Riot, Bombshell , Bootman, Chrome , CLS, D'Effect, D.M.S., Dred Stock, English Friday, Frontline, Gypsymen, Hardhouse, House Of Gypsies, INCS, KXP, Lime Life, Masters At Work , Orange Lemon, Raid, The, Royal House, Sax, Sound Design, Static, Swan Lake, Tech Nine, Todd Terry All Stars, Todd Terry Project, The, Youngbloods. Despite his wealth of released material, Terry remixed dozens of artists as well, including Sting, Björk, Janet Jackson, Tina Turner, Malcolm McLaren, Annie Lennox, Robert Plant, and Technotronic, among others. The British house boom of the early '90s provided Terry with many an overseas gig, including a high-profile residency at the London superclub Ministry of Sound. His proficiency on the decks became a minor sensation, causing several British journalists to describe him as "God."
Terry moved into label entrepreneurship in 1992 when he formed Freeze Records with William Socolov. Freeze became the obvious home for many of Terry's productions, including several volumes of his EP series Unreleased Projects beginning in 1992 and running through 1995. That same year, Terry's remix of the erstwhile pop act Everything but the Girl became a worldwide smash, selling over three million copies and almost single-handedly reviving the duo's flagging career for a sleek new dancefloor incarnation. The British label Hard Times released the DJ gig A Night in the Life of Todd Terry: Live at Hard Times in 1995, while the flip side of the coin, A Day in the Life of Todd Terry (including his best single and remix productions) appeared the following year. His next project, Ready for a New Day, provided more song-oriented fare, though still implicitly dance, with guest vocalists including Martha Wash, Jocelyn Brown, and Bernard Fowler. In 1999 Terry made another artistic change-up, he released Resolutions, successfully embracing the Drum-n-Bass aestethics, recorded for indie/electronica stalwart Astralwerks.
Todd Terry has become one of the best-paid DJs in both Europe and the United States. He normally performs on four turntables, mostly playing his own tracks. Recently he stated he's making all his money from gigs, as income from selling vinyl or cdees has shrivelled up. Well then, take this in and go see/hear him when he's in town !
01 - Bango (To The Batmobile) (3:17)
02 - Weekend (3:55)
03 - You're The One (You Bad) (3:28)
04 - It's Just Inhuman (3:31)
05 - Back To The Beat (4:15)
06 - Just Wanna Dance (4:18)
07 - Made By The Man (3:34)
08 - The Circus (4:25)
09 - Sense (3:25)
10 - Weekend (clubversion)
11 - Just Wanna Dance (clubversion)
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VA - Esta Loca (New York Freestyle House) ( 90, 75min ^ 179mb)
Many people list Let the Music Play by Shannon as the first Freestyle track. The song was produced by Chris Barbosa, a Latino from New York City. Barbosa changed and refined the electro funk sound, adding Latin American rhythms and a totally syncopated drum sound. This new, exciting sound rejuvenated the funk, soul and hip hop club scenes in New York City. While most of the neighborhood clubs were closing their doors for good, some Manhattan clubs were suddenly thriving. Places like the Roxy, the Funhouse, Broadway 96, Gothams West, and Roseland that played this were packed.
Many of the original freestyle artists – and the DJs who played the music, such as Jellybean, Tony Torres, Raul Soto and Roman Ricardo – were of Latino or Italian ancestry. This was one reason why the style came to be very popular among Hispanic Americans as well as Italian Americans, especially in the New York City area. This marks a notable merging of underground Hispanic and African-American urban cultures, hence, the names Latin Hip Hop or Latin Freestyle. Now, the more neutral term Freestyle is generally preferred. Of course, performers and producers associated with the style came from around the world. New York Freestyle, even in its most polished forms, retained a raw edge and underground sound, using minor chords that made the tracks darker and more moody. The lyrics also tended to be about unrequited love or other more somber themes, dealing with the reality of what inner city teens were experiencing emotionally.
01 - Casanova's Revenge - Let's Work (Club Version 1) (5:52)
02 - Sax - Don't Turn Your Back On Me (Halloween Mix) (4:21)
03 - Maurice - Opening Melody (5:17)
04 - Looney Tunes - Just As Long As I Got You (Original Club) (4:44)
05 - Royal House - Get Funky (Club Mix) (3:53)
06 - Sandee - Notice Me (Notice The House Mix) (8:32)
07 - Minutemen, The - OK Alright (Club Mix) (5:44)
08 - Lime Life - I Wanna Go Bang (Old Time Dub) (4:40)
09 - Todd Terry Project, The - The Circus (It's Just In Dubs) (5:27)
10 - Two Without Hats - Try Yazz / Esta Loca (Original Rough Yazz) (5:41)
11 - Frontline - I Can't Quite Understand (Paradise Mix) (4:15)
12 - Caped Crusaders - There's A Bat In My House (Club) (6:17)
13 - Royal House - A Better Way (Hot Toddy Mix) (5:02)
14 - Frontline - I Love The Way You Shake (Garage Dub) (5:09)
VA - Esta Loca (New York Freestyle House) ( 90, 75min 99mb)
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Baby Ford - BFORD 9 (92, 79min * 178mb)
Peter Ford (Peter Frank Adshead) is one of the most recognizable names in current dancefloor techno and was one of the founders of the U.K. acid house scene. He's released records under a slew of pseudonyms, including Casino Classix, El Mal, Solcyc, Simprini Risin', and his most frequent, Baby Ford. His early work -- heavily influenced by the late-'80s acid house sound, as well as Chicago producers such as Marshall Jefferson, Ron Trent, Armando, and Larry Heard -- appeared primarily through the Rhythm King label, and included classic cuts such as "Oochy Koochy," "Children of the Revolution," and "Fetish." He's released four full-length albums to date, including the debut classic Fordtrax and 1997's Headphone Easyrider, one of his more listener-friendly albums. His recent work has appeared mostly through Trelik and Ifach -- two of the U.K.'s most highly regarded experimental techno labels, and both of which Ford has a hand in managing (Trelik together with Eon's Ian Loveday; Ifach with Mark Broom). He's also collaborated with Ian Loveday on a number of projects (including Minimal Man), both for Trelik and for William Orbit's Guerrilla label. .
On BFORD 9 there's...in your face analog techno freakouts, deep and bassy late-night club grinders, hypnotic trance mantras, overcast trip-hop sleaze , contemplative 3am end of party ambient dub...it's all here. In short, a great techno acid album . There's a hungry harddisk (OGG 9) and an ' already deaf ' version available (OGG 6)
01 - RU486 (4:25)
02 - Fetish (5:40)
03 - Move-On (6:29)
04 - In Your Blood (5:40)
05 - Blow Back (4:16)
06 - Sashay Around the Fuzzbox (5:07)
07 - Intro (20, Park Drive) (0:49)
08 - 20, Park Drive (7:43)
09 - Disconoddy (6:05)
10 - Change (5:50)
11 - Move-On (Alt) (5:18)
12 - Fetish (5:25)
13 - Noddy (6:52)
14 - 20, Park Drive (Instrumental) (7:40)
already deaf version
Baby Ford - BFORD 9 (92, 79min * 99mb)
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Thanks for sharing, I will bookmark and be back again
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