THE CHOP SHOP PODCAST: DA MONDAY SAMPLE............THE WINSTON BROTHERS " AMEN "

THE WINSTON BROTHER'S " AMEN "

( ONE MINUTE AND TWENTY SIX SECONDS IN KIDDDDDD )

The song itself achieved fame within the hip hop and subsequent electronic music communities when a former Downstairs Records employee known as Breakbeat Lenny compiled it onto his 1986 Ultimate Breaks and Beats bootleg series for DJs. Lenny hired Louis Flores to edit four bars of the drum break at a much slower speed than the remainder of the song. Although it created a jarring difference in tempo in the center of the song, it allowed Hip-Hop DJs to extend the beat by switching between two copies of the record on two separate turntables at a danceable tempo while ignoring the rest of the song (this technique was created by Kool Herc in 1974 and became a trend at large in 1977 with the efforts of Grandmaster Flash). By 1987, E-mu released the SP1200 sampler, altering Hip-Hop production techniques from drum machines to sampled loops. Most producers began to mine their loops initially from Ultimate Breaks and Beats series, causing the Amen break to gain a massive amount of fame in the late 80s hip-hop community, crossing over to the U.K. and European dance music scenes shortly afterwards. Eventually, the song was reissued in its original form at a higher quality sound, and since most contemporary electronic music producers were speeding up the sample, the bootlegged slower edited version fell out of favor.

WHERE DO YOU START WITH THIS ONE. !!!!!!!!!!

ONE THING TO CONSIDER WHILST BROWSING. TALK ABOUT HAVING THE LOTTERY TICKET IN YOUR HAND AND LOSING IT ON BUMPER , BUMPER JACKPOT , ROLL-OVER AND OVER WEEK.

( Neither the performer, drummer G.C. Coleman, nor the copyright owner Richard L. Spencer have ever received any royalties or clearance fees for the use of the sample. )

I CAN'T THINK OF ANOTHER BREAK THAT NOT ONLY INSPIRED MANY A SAMPLER BUT IT COULD BE ARGUED STARTED A WHOLE MUSIC GENRE / SCENE

" By 1990, at the height of British rave culture, the Amen began to appear in an increasing number of breakbeat hardcore productions. Hardcore emphasized a unique, harsh, aggressive sound that drew strongly from hip-hop and early acid house. It added a hip-hop influence with the addition of breakbeats and increased the tempo. A strong reggae and ragga influence emerged in 1991 and 1992, with uplifting piano melody loops or Jamaican reggae samples used at normal speed layered on top of frenetic 150 to 170 BPM breakbeats. This sound quickly evolved to a point where sliced and diced drum breaks in conjunction with low frequency bass lines became the important features of many tracks. This style was initially referred to as Jungle but later, as it progressed and rhythmic elements were refined, the term drum and bass became more common. Around the mid 1990s a number of IDM producers, who had been influenced by the Jungle/DnB sound, began to focus on the style and started exploring it in the context of electronica. Making "danceable" club oriented tracks was not a prerequisite. In fact, the more outlandish and obscure the manipulations, the more aesthetically pleasing the records were to aficionados—a trend that continues to this day in the form of breakcore. The amen break can still be found in many productions and there has been a renewed interest in the "old-skool" Jungle style in recent years. Luke Vibert, one of the many IDM producers who has explored this break (other examples include Squarepusher), has released several records under the moniker Amen Andrews, using the Amen on nearly every track, heavily sliced and edited, yet recognizable. "

ONE DROP CLASSIC.......