Advanced Search. Stream or buy on:. Genre Jazz. Styles Electro Fusion Jazz-Funk. Track Listing. Future Shock. Curtis Mayfield. Earth Beat. Herbie Hancock. Spotify Amazon. But Tony knew that I had worked with Brian Eno and people like that. And he connected that with also the kind of street scene that I was working with. At the time, we had kind of a floating band that would play clubs and we would play in lofts.
It was with like Philip Wilson and Olu Dara and Henry Threadgill, and we would just put together groups and play in clubs and in lofts. And he thought that was very hip and he came into New York and I was working with a guy called Roger Trilling who at that time was managing Blood Ulmer.
Bob Belden: So around this particular time, it seemed like what they called the jazz community hated this kind of music. We knew that but we were trying to do what we thought -at the time, we thought it was just experimental. We had no idea of the commerciality of it. Bill Laswell: Well, the basic core of a particular kind of a sensibility is that. And then there are other people who are here, more ethereal or melodic kind of textures. But yes, rhythm if it hits somebody in a certain way is undeniable.
And we were dealing with a very stiff approach to rhythm coming out of — for lack of a better word — a black music concept. But we approached it much more in the way of sequencing and repetition in the way of Kraftwerk and later what Mantronix did. But it was contrast to the feel and then to the persistent repetition.
But we were conscious of a feel. It was a conscious contrasting fusion. And they were really experimenting with sound.
And so to me, it had more interest than doing straightahead stuff. Bill Laswell: Again, a lot went into it. Bill Laswell: Yeah, it actually was a store that sold stereo equipment. We had no conscious idea that we had done anything of any value. We were just doing what we did daily. We had a cassette and we did stop pn the way to the airport.
We stopped at a store that sold sort of high-end stereo equipment. We were just at that point starting to make money. So we were looking to buy stereo equipment. I was very curious about speakers and amplifiers. And we had some time.
So we stopped along the way. And in the store we said we were interested in these speakers. We need to hear something that we know about. And then we had this feeling that we had done something.
Something had happened. It was confirmed at that moment. We had no question at that moment that we had done something that would translate. Bob Belden: It was, in a sense, innovative in that it shocked everybody who first heard it. And people loved the thing. Everybody talked about that record. It was based on probably Tony listening to Talking Heads or something. He was making an effort to reach out a little bit. The video helped a great deal to push it over. Fairlight CMI — This digital sampling synthesizer, released in , was the first digital sampler of its kind and offered complete synthesis and editing of sampled sounds.
It was the first electronic instrument to be based off a home computer and also resembled one. Geneva, Switzerland. Retrieved June 12, Australian Chart Book — illustrated ed.
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