Summary: *Production note - Eye usually do a dry run of the show, listen to it for a day and then go back and rerecord with my adjustments, however, thanks to some unexpected oral surgery just hours after recording this cast, Eye had to post the reference version. Right now I’m feeling like how Martin Lawrence looked after going a round with Tommy “Hitman” Hearns on the “Martin” show back in the day...and the reference wasn't too bad, so Eye figured, what the hell....One. Ep. #002 Doo Wop and Hip Hop have quite a bit of common ground. The origins of both share some similarities, including geographic (North East, US) and social (both generally started out as street culture) indicators. In addition, there are certain aesthetic values that were common to both in their most basic forms. Both art forms placed great emphasis on live spontaneous performance (in Doo Wop, that was manifest in the form of the street corner acapella, in Hip Hop it was the freestyle cipher). Both forms also started out primarily as youth culture movements and sought to distinguish themselves both sonically and visually. The utilization of multiple voices in the performance of both Doo Wop and Hip Hop were key, with the former focusing more on harmonics, while the latter was more concerned with arrangement. There are several people who have direct ties into both genres, but none is more prominent than Sylvia Robinson. Sylvia was a successful recording artist during the Doo Wop era (as one half of the duo Mickey and Sylvia) and one of the most significant figures in Hip Hop’s initial entry into the recording industry as the owner of Sugarhill Records. The influence of Doo Wop on Hip Hop can be indirectly cited in the works of other notable figures like George Clinton, James Brown, The Isley Brothers and Jimmy Castor all of whom, were artists during the Doo Wop era who went on to make music that proved to be very instrumental to the development of Hip Hop. With the advent of sampling, Doo Wop’s presence could be more directly identified, as several songs from the genre were co-opted for use by Hip Hop producers. (see show notes below for references) There have been attempts to fuse the two genres. The most significant of these efforts were turned in by the groups The Force M.D.’s and Rappin Is Fundamental, who actually branded their particular style of music as “Doo-Hop”. * Show Notes: Fugees - Zealots Interpolation of the Flamingos classic, “I Only Have Eyes For You” btw-Lauryn kills her verse! Cypress Hill - Hand On The Pump Samples the Gene Chandler hit, “The Duke Of Earl” Tame One - Get A Jar Reworks the Silhouettes’ classic “Get A Job” on his ode to the leaky leak Salt-n-Pepa - Shoop LL Cool J - The Do Wop Not sure what song was sampled for this track. If any of you know, please holla. Little Starsky - Dancing Party People Illustrates how early Hip Hop retained certain elements of Doo-Wop, in this case, the use of the “be-bop” vernacular. The Force M.D.’s - Let Me Love You & Tears Rappin Is Fundamental - Rapping Is Fundamental & Ain’t No Smoke Towards the end of “Ain’t No Smoke”, R.I.F. borrows from the hit song “Trickle Trickle” by The Videos. The Coasters - Shopping For Clothes Technique used in this song could be classified as "rap", although not necessarily Hip Hop. Dave "Baby" Cortez - Unaddressed Letter Sequence - Unaddressed Letter The D.O.C. - Comm. Blues The Real Roxanne - Rap To Me Erick Sermon - Live In The Backyard Get @ me: hiphoprevisited.blogspot.com hiphoprevisited.podomatic.com hiphoprevisited@gmail.com p.s.- don't forget to leave a comment - tell me what you like, what you don't like, what you wanna hear...whatever!!!
