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| !:. | . album : Sex On The Beach 2000 . | .:! |
| ::. | artist : Mr.De' | .:: |
| !:. | | .:! |
| !:. | label : Electrofunk Records | .:! |
| !:. | cat.nr. : EF-2002-1 | .:! |
| !:. | | .:! |
| !:. | year : 2000 genre : Booty Bass | .:! |
| ::. | source : Vinyl quality : VBRk HQ Joint-Stereo | .:: |
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: . . :
. .
. Once again, kiNky brings for y'all mutafuckaz another .
. Ghetto classic ! Detroit style here ! .
. .
. .
. After over ten years of work as a producer and nearly 20 .
. years of making electronic music, Mr. DΘ stepped from .
. behind the mixing board to release his first album, .
. confirming the fact that he had become one of most .
. important figures in Detroit's burgeoning ghettotech .
. scene. The producer's debut album, Electronic Funkyshit, .
. showcased the Detroit artist's multi-dimensional .
. production talents; beginning with some synth funk .
. tracks, DΘ then moves through other styles such as RB, .
. electro, P-Funk, booty, drum'n'bass, and rap. This .
. seamless album stood as the first non-mix album on the .
. shelves to showcase Detroit's ghettotech sound -- a sound .
. drawn from a number of funk-based urban sounds, blending .
. them together into a composite whole that emphasizes up- .
. tempo booty shakin' over the high-brow styles of techno. .
. Following the release of this first album and the .
. continuing success of his distribution empire, DΘ .
. solidified his position at the forefront of Detroit .
. ghettotech. .
. .
. Splitting his time between Detroit and Panama City, FL, .
. as a youth with divided parents, the young ADΘ Mainor .
. experienced two different cultures in the early '70s: the .
. sprawling urban segregation of struggling inner-city .
. Detroit with its long winters and its fabled musical .
. traditions, and the sunny Utopia of vacation friendly .
. Florida with its blistering beaches and its relaxing .
. lifestyle. Yet despite the Utopian attributes of Florida, .
. he soon found himself spending most of his time in .
. Detroit with his mother, a gospel singer. It was there .
. among the post-industrial decay of the once mighty Motor .
. City that he began to revel in the enriching world of .
. music, first learning to play the piano at age six. Soon .
. he schooled himself first at the guitar, and then once he .
. heard the early hip-hop of Kurtis Blow, he began toying .
. with drum machines and turntables, producing skeletal .
. hip-hop tracks as a young teen. His infatuation with .
. Detroit's then-blossoming, now-forgotten hip-hop scene .
. soon became the focus of his time as he also began .
. breakdancing in addition to the time he spent programming .
. his drum machines and synthesizers. .
. .
. By the late '80s, once Detroit began transforming into a .
. city full of visionary men with innovative ideas about .
. where funk-based music could go -- Electrifying Mojo, .
. Jeff Mills as the Wizard, Juan Atkins, Derrick May, etc. .
. -- Mainor found himself working as a staff producer at .
. Detroit Piston John Salley's Hoops Studio on Eight Mile .
. Road for three years. There -- at Detroit's hottest .
. studio at the time, working alongside some of the city's .
. most prolific producers -- he learned how to churn out .
. hip-hop, RB, and bass hits such as LaRocko Tee's "Big .
. Booty Bitch" on a daily basis as he finished up high .
. school and began studying sound engineering. Following .
. this stint, he went to work for Cliff Thomas, the owner .
. of Detroit's Buy Rite record store on Seven Mile Road, .
. who helped record many of the city's first techno artists .
. launch their careers. Alongside Thomas, Mainor started .
. producing records for the D-Bass and Reality labels in .
. the early '90s. .
. .
. During his time working with Thomas at Buy Rite, Mainor .
. met Craig Adams, better known as DJ Assault. Adams spun a .
. unique style of dance music -- composed of early techno, .
. electro, Miami bass, obscure booty, and certain styles of .
. rap -- which instantly fascinated Mainor. The two began .
. working together, with Mainor as the producer and Adams .
. as the protΘgΘ. They sold their first few records .
. straight out of the store and were amazed at the demand, .
. resulting in their decision to leave Buy Rite to form .
. their own label, Electrofunk, in 1996. At this point in .
. time, many Detroit producers such as Jeff Mills and .
. Claude Young had left Detroit; other producers such as .
. Derrick May and Juan Atkins entered stagnant periods; and .
. other area producers such as Underground Resistance and .
. Carl Craig sold more records overseas than in their own .
. hometown. Together, Mainor and Adams wanted to produce a .
. style of dance music that would appeal to their city's .
. appetite for raw, urban-sounding funk music with street .
. credibility: the prototype for ghettotech was born. .
. .
. At this time in Detroit, DJ mix tapes littered the city's .
. music landscape. Everyone from superstar DJs to bedroom .
. DJs were passing around dubbed mixes of their DJ sets for .
. people to bounce to in their car and give to their .
. friends. Mainor and Adams decided to bank on this trend .
. by releasing one of the first mix CDs, titled Straight Up .
. Detroit Shit. This now infamous CD showcases Adams' .
. skills as DJ Assault, moving through a countless number .
. of pitched-up, obscure Detroit bass records with .
. lightning speed. The fact that he pitched-up the records .
. to an outrageously high number of beats per minute and .
. went out of his way to feature tracks with a pornographic .
. edge led many to dub the music "booty." At the same time, .
. he also made sure to include several of his and Mainor's .
. Electrofunk releases, cementing their association with .
. this style of booty music. The CD flew off the shelves, .
. and the duo quickly went back in the studio to produce .
. yet more Electrofunk records to accommodate the .
. ridiculous demand and also made sure to keep releasing .
. more volumes in the Straight Up Detroit Shit series. .
. .
. It wasn't long before Mainor and Adams had succeeded in .
. their goal to take the DJ Assault moniker to superstar .
. status with the series of mix CDs and their run of hot .
. Electrofunk records, which were all attributed to DJ .
. Assault even though Mainor had done the bulk of the .
. production. The fact that the duo made their music for .
. Detroit made the difference. Other area labels such as .
. Carl Craig's Planet E sold plenty of records, but very .
. few of those records sold within Detroit, and those that .
. did were sold to white suburbanites rather than the inner .
. city's enormous black population. On the contrary, the .
. Electrofunk records sold very few copies outside of .
. Detroit but could be heard everywhere on the inner-city .
. streets, got heavy play on the city's radio mix shows, .
. and became staples of the city's dance clubs. Tracks such .
. as "Ass N' Titties," "Checkstub," "Sex on the Beach," .
. "Crank This Mutha," and "Dick By the Pound" became .
. anthems, where nearly everyone in the club would chant .
. along to the perverse chants. .
. .
. By the end of the '90s, the once dynamic duo had become .
. dysfunctional. Adams had his own label, Assault Rifle, .
. while Mainor had Electrofunk. In addition, Adams seemed .
. to become increasingly infatuated with rapping, resulting .
. in two mediocre rap albums, Belle Isle Tech and .
. Assaultland. Mainor went along for the ride, producing .
. the beats and contributing rhymes of his own, but it soon .
. became clear that the relationship was destined to break .
. apart. While Mainor spend a great deal of his time .
. running Electrofunk's distribution arm -- Electrofunk, .
. Assault Rifle, Twilight 76, Throw, Databass, etc. -- and .
. an equal amount of time in the studio, the spotlight .
. shone on Adams, with his high-profile DJ gigs and his .
. name appearing on Mainor's productions. So, done having .
. helped catapult the name DJ Assault into mass .
. consciousness, Mainor soon went solo. .
. .
. A short lull passed in the Electrofunk camp as Mainor .
. spent long days in the studio preparing his first-ever .
. full length release, Electronic Funkyshit. Released late .
. in the summer of 2000, the album illustrated just how .
. diverse his talents were, finding the producer not only .
. laying down tight beats but also playing a range of .
. instruments and showcasing a cast of talented vocalists. .
. Like a modern version of Prince or George Clinton at .
. their respective peaks in the early '80s and late '70s, .
. Mainor may have featured a range of instruments, sounds, .
. and arrangements, but a unique signature style .
. emphasizing the true meaning of funk remained constant .
. throughout the album, thanks in part to a constant tempo .
. around or near 140 bpm. In addition, his flair for .
. programmed drum machine beats and his knack for laying .
. down effective synth riffs helped characterize this .
. consistent style. Following the release of the album, he .
. then released a handful of 12" records, indented for DJs. .
. .
. Besides creating a creative album that never gets .
. repetitive with its numerous approaches to electronic .
. funk, Mainor also managed to be the first among Detroit's .
. growing ghettotech community to release a full-length, .
. self-produced album that represented the style's eclectic .
. approach to songwriting. One cannot merely call his .
. productions "booty" or "electro," with the many other .
. elements of RB, drum'n'bass, rap, techno, and bass all .
. finding their ways into his songs. Never before had .
. anyone thought to integrate actual singing into bass- .
. heavy booty beats as he did on "Sex on the Beach 2000," .
. just as no one in the rap game had every brought the .
. frantic maelstrom of high-hat percussion to hip-hop as he .
. did on "Crome." After years of throwing the term .
. "ghettotech" around as a jargon buzzword with no real .
. reference point or canonical text, someone had finally .
. produced the album that put the concept into practice. .
. .
. By taking the sounds that DJ Assault and DJ Godfather had .
. mixed into their DJ sets and using these ideas to create .
. an album that never falls into the confines of a specific .
. genre, Mainer can be seen as the originator of pure .
. ghettotech -- not a collage of records mixed into a .
. seamless whole but rather a hermetic production derived .
. from his years of experience producing different styles .
. of urban music. Like all successful post-modern art, his .
. ghettotech takes elements from modern urban music and .
. uses these ideas to fuse together a new sound. .
. Furthermore, at the helm of Electrofunk's distribution .
. arm, he also controls the destiny of his fellow .
. ghettotech peers in Detroit as they try and spread their .
. sound outside of the city. Whether or not the rest of the .
. world is ready for this Detroit-bred, post-modern style .
. of urban music is an unanswered question, but there is no .
. questioning the fact that the man known as Mr. DΘ just .
. may be undeniably the most important man in the crusade. .
. .
. - Jason Birchmeier, All Music Guide .
. .
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| !:. | 01 04:24 (A1) Sex On The Beach 2000 (Feat. Greg C. Brown) | .:! |
| !:. | 02 03:56 (A2) Detroit Zoo | .:! |
| !:. | 03 03:24 (A3) The Zoo (Feat. Buxx) | .:! |
| !:. | 04 04:10 (B1) Throw (Feat. Sixfoe) | .:! |
| !:. | 05 04:10 (B2) Throw (Instremental) | .:! |
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| !:. | . We are dudes and dudettes who prefer to keep a family vibe . | .:! |
| !:. | within our group. Music love and friendship are the key | .:! |
| !:. | values that keep us together. | .:! |
| !:. | If you look at the definition of KINKY - it means | .:! |
| !:. | something new, unusual and also showing or appealing to | .:! |
| !:. | bizarre or deviant tastes. Now apply that definition to | .:! |
| !:. | our family and you get a pretty vivid description of our | .:! |
| !:. | modus operandi - delivering a variety of electronic music | .:! |
| !:. | styles which cater to our eccentric palette. | .:! |
| !:. | Of course we also have an affinity towards good beer and | .:! |
| !:. | cute girls (oh yeah, our girls prefer men). We have an | .:! |
| !:. | email where you can contact us if you'd like to spice up | .:! |
| !:. | your life. | .:! |
| !:. | | .:! |
| !:. | Disclaimer: | .:! |
| !:. | Don't spread our stuff on any public sources like p2p. It | .:! |
| !:. | also applies to public dupechecks. It won't hurt your | .:! |
| !:. | ego-meter too much. Please respect our decision, we do NOT | .:! |
| !:. | want our releases to appear there! | .:! |
| ::. | | .:: |
: . _| Contact: kinkygirl [at] hush.com |_ . :
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| !:. | BCC BEX BOSS CMC dh DPS DRUM EMP gEm kW mbs MPX PsyCZ sb | .:! |
| ::. | | .:: |
: . _| soup TR tronik TrT UPE |_ . :
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logos & layout last update
by H7/dS! 13/02/2005