Lady Diana’s 1976 disco classic was sliced and spliced by Geto Boys on “The Other Level,” Janet Jackson for “My Need” and Digital Underground on the original (temporarily banned) cut of “Freaks Of The Industry.” The tune feeds samplers with both the long moody slow-jam intro, and one of the most iconic funky basslines of the mid-70s in the uptempo disco section – a handy two-for-one deal.Hungry For Love was big enough to necessitate an album - San Remo Golden Strings Swing - which included Askey's interpretations of chestnuts like Ol' Man River and Blueberry Hill. Covers of the original, of which there were plenty, also brought beats for rhymes, such as jazz organist Reuben Wilson’s 1974 interpretation supporting A Tribe Called Quest’s “Youthful Expression.” Diana Ross: Love Hangover Among those to use it is Coolio (“N Da Closet”), Ice Cube (“When I Get To Heaven”), and the great Masta Ace (“Go Where I Send Thee”). Gaye’s remarkable howl of despair, from 1971’s What’s Going On, has been a source of interest in hip-hop since sampling became a viable way of creating beats. Sampled by Run-DMC (“Jam Master Jay”) and MC Shan (“The Bridge”), it then enjoyed another life in New Jack Swing via Wreckx-N-Effect’s mighty “Rump Shaker,” before moving on to dance music thanks to C+C Music Factory’s “Things That Make You Go Hmm.….” All that scratchin’ making you itch? Marvin Gaye: Inner City Blues (Make Me Wanna Holler) It had to be big with a title like that… From a fairly anonymous album of 1975, Disc-O-Tech, created by a crew of Motown backroom brains, including Frank Wilson, Gloria Jones, and Hal Davis, “Scratchin”’s name was practically an invitation for hip-hop to leap aboard. Think we’ve missed some of your favorites? Let us know in the comments section, below.Ĭlick to load video The Magic Disco Machine: Scratchin’ Plus, it dropped a little retro soul on your modern R&B joint, too.Īs hip-hop matured, some of its greatest exponents gave Motown beats fresh life in a new era. Most of this stuff didn’t sound like Motown in the sense of “Dancing In The Street” or “Tears Of A Clown,” but it was 100 percent Motown and perfect to bust a rhyme over. There was also the sultry groove of Diana Ross’ “Love Hangover.” And Marvin Gaye’s beats got sampled as the hip-hop pioneers recalled that their parents’ generation also had something vital to say over a funky jam. One Motown break, “The Assembly Line,” was one of hip-hop’s foundation stones. Motown really did deliver the goods when it came to breaks, and true hip-hoppers always keep their ears open for a great beat, wherever it comes from. Hold it, hold it, listen – as Dennis Edwards demanded on The Temptations’ “I Can’t Get Next To You.” Common consent was wrong. But Motown samples? Motown was soulful, sure, but common consent supposedly had it that the Detroit mega-label was not funky in the usual hip-hop sense.īut hold it, everybody. Hey, they even used reggae as a breaks source. Which meant using James Brown loops, mostly, and obscure stuff like The Honeydrippers’ “Impeach The President” and The Mohawks’ “The Champ.” Then hip-hop absorbed P-Funk in the late 80s, thanks to De La Soul and Digital Underground, and jazz through Gang Starrand A Tribe Called Quest boy, did that 60s-70s Blue Note catalogue get rinsed. Once hip-hop got established in the first half of the 80s, everyone knew what it was about, right? A collage of funky beats and scratches with rhymes laid on them.
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