https://rpboo.bandcamp.com/album/legacy-volume-2?label=3050966550&tab=music RP Boo is to Footwork what Juan Atkins is to Techno. The originator, the inspiration, the cornerstone on which an entire genre has been built on. RP Boo started making tracks in 1995 inspired by the house music around him in Chicago. He created numerous unreleased tracks before experiencin...(展开全部)https://rpboo.bandcamp.com/album/legacy-volume-2?label=3050966550&tab=music RP Boo is to Footwork what Juan Atkins is to Techno. The originator, the inspiration, the cornerstone on which an entire genre has been built on. RP Boo started making tracks in 1995 inspired by the house music around him in Chicago. He created numerous unreleased tracks before experiencing his personal breakthrough with 1997's ‘Baby Come On’ – a composition many cite as the first Footwork track (find it on the Planet Mu's ‘Classics Vol 1’). RP Boo's essential first album, 2013's ‘Legacy’ caused a storm of acclaim worldwide as people finally started to piece together his true place in Footwork and the powerful legacy of his work as an innovator. In parallel with productions, his always on-point DJ sets have lit up festivals and clubs worldwide and continue to do so to this day, notably leading to him being named one of the ‘100 World’s Best DJs’ in a recent book by DJ Mag. Now ‘Legacy Vol.2’ continues his story. Featuring tracks created between 2002 and 2007, this is a wonderous selection of material, some known, some unknown. The album kicks off with the dark and epic ‘Eraser’ created in September 2007, during a time RP was going to underground Footwork club War Zone on the west side of... Chicago. The track was inspired by, and created to fuel, the “taunting words of intimidation” between dancers.” And now it makes for one intense album opener. Some cuts have simple sources – for example ‘Total Darkness’ from 2004 was inspired by, and made in tribute to the Footwork dance troupe of the same name. Some tracks are inspired by movies, for example ‘Heavy Heat’ was inspired by Full Metal Jacket and ‘Say Grace’ by ‘Colors.’ Some cuts are inspired by everyday life – take for example 2005's ‘Pop Machine’, which was inspired by the time he was working at Speedway Oil Change who had a temperamental soda/pop machine. One day, a customer put money in the machine and nothing came out, so he continued to press the button, and for some reason RP found this funny so he went over to the machine and started pressing the buttons himself and everyone he touched started saying “Work!.” Inspired once he was back home in his studio he made ‘Pop Machine’ in tribute to the defunct machinery. When he came back to work the next day and played the track for all this co-workers it blew their minds and they also laughed with at how creative RP could get using things from his everyday life as inspiration. ‘Pop Machine’ also illustrates how RP’s Footwork uses repetition and minimalism as fuel. Looking back on the period in which these cuts were made RP Boo recalls “The Footwork scene was very scattered around. (There were) very few places to see Footworkers showcase their moves. Then around 2005, things stated to change when the War Zone created By Wala (Jerome Williams) on the West Side of Chicago gave a platform for the dancers to come and do what they do best. Then, Battle Grounds surfaced on the South Side of Chicago where you would hear the future of footwork tracks being played by DJ Rashad & DJ Spinn.” Years later RP Boo is still inspired by Foot Work – the art of dancing and working for dancers. He continues to shake up clubs and isn’t afraid to get out from behind the decks and drop some Foot himself. We’ll let the man himself have the final word - “What inspires me to keep going is seeing the people having an awesome time moving on the dance floor, as well as playing music that is a recognizable part of my life. I’m one with it.” more
“Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气... “Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气灶”chop又来了。 “Off Da Hook”是采样了星球大战的经典旋律？Light8(展开)
“Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气... “Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气灶”chop又来了。 “Off Da Hook”是采样了星球大战的经典旋律？Light8(展开)
0 有用 Cactus _jks 2023-09-22 18:27:02 福建
“Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气... “Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气灶”chop又来了。 “Off Da Hook”是采样了星球大战的经典旋律？Light8 (展开)
0 有用 THISTW 2023-05-23 18:13:14 浙江
跑步神专！
0 有用 Cactus _jks 2023-09-22 18:27:02 福建
“Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气... “Eraser”他故意设置了相互冲突的声音，如恐怖电影的嗡嗡声，虽然音乐起源于芝加哥house，但Boo故意解构了这种类型的量化，四层网格-在大多数情况下，引导脉冲只是不存在。开头这个人声切片加煤气灶打火的音效在大型仪器的白噪音般的音效上忽隐忽现，诡谲神秘，“Live and Let Die”的人声样本太神了，适应这种摇摆、过度活跃的节奏需要一些耐心。“Under’D-Stat”手法超神的“煤气灶”chop又来了。 “Off Da Hook”是采样了星球大战的经典旋律？Light8 (展开)
0 有用 THISTW 2023-05-23 18:13:14 浙江
跑步神专！