No Rights Given Or Implied: The Original Samplers
- 艺人
- Various Artists
- 语种
- 英语
- 厂牌
- Bond St.
- 发行时间
- 1993年01月01日
- 专辑类别
- 合集、杂锦
专辑介绍
If you like beats and cuts and funky rhythms and rapid fire samples, look no further than where it all began with the seminal mid-80’s work of Steinski. A true student of all things syncopated, leave it to a white ad agency copy writer to come up with what would become some of the most sought after bootlegs in the dawn of the mix DJ.
Hip hop was already well into the age of using funk samples as back beats for burgeoning MCs to rap over, so when Steinski heard of a competition to remix G.L.O.B.E. & Whiz Kid’s “Play That Beat Mr. DJ” sponsored by Tommy Boy Records, he immediately took the genre to its logical extreme by packing as many sample snippets as possible into the legendary and aptly titled Lesson One. After a single listen, Afrika Bambaataa and the rest of the judges panel immediately awarded it first place, and the rest is history.
Lesson One, along with the next four 1980’s Steinski originals collected on this album Lesson Two, Lesson Three, The Motorcade Sped On and It’s Up To You all follow a similar style that have laid a groundwork still heavily influential and widely copied today. It’s not hip hop per se because there’s no rapping, and there’s no DJing in the classical sense. One cut isn’t faded or scratched into the next, it’s just cut and paste, part of one song, part of another song, maybe back to the first song, a snippet from a cartoon, commercial or JFK speech then right back into the funk with some Sly & The Family Stone or The Watts 103rd Street Rhythm Band.
Whatever gifts Steinski is employing, the sum definitely winds up greater than its parts as the ultimate party music, people will get down whether they realize it’s de facto old school hip hop or not because it’s also funk, rock, comedy and political commentary. As for the aforementioned “parts” however, these mixes all came out at the time when original recording artists and their labels were starting to get more and more pissed off with the prolific use of their samples without seeing a dime, eventually leading to the suing of the Beastie Boys and other artists, driving pressed copies of Steinski’s Lessons and other works into the underground.
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