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▄▀██▀ B O S S M P 3 I S P R O U D T O P R E S E N T ▀▄█▀█▄
▄▀██░ ********************************************************** ▐███▀
▀▄█▄ artist : Afrika Bambaataa Vs Man Parrishize : 15,2 MB ██▌▄
░█▄▀▄ album : Get Up And Dance label : N/A ░██▀▄
▄▀██▀ genre : Beat str.date: 09/2003 ▄▀▄▀▀
▄▀██░ source : Vinyl rip.date: 09/28/2003 ▀█▀▄
▀██ bitrate : 192 kbit ripper : Team BOSS ██▀█
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██▌▄▀█ Bambaata......... ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ A seminal Bronx DJ during the 1970s, Afrika Bambaataa ░██▌▄▀
██▌▄▀█ ascended to godfather status with Planet Rock, the ░██▌▄▀
██▌▄▀█ 1982 hip-hop classic which blended the beats of ░██▌▄▀
██▌▄▀█ hip-hop with techno-pop futurism inspired by German ░██▌▄▀
██▌▄▀█ pioneers Kraftwerk. Even before he began recording in ░██▌▄▀
██▌▄▀█ 1980, Bambaataa was hip-hop's foremost DJ, an ░██▌▄▀
██▌▄▀█ organizer and promoter of the large block parties ░██▌▄▀
██▌▄▀█ during the mid- to late '70s which presaged the rise ░██▌▄▀
██▌▄▀█ of rap. After the success of Planet Rock, he recorded ░██▌▄▀
██▌▄▀█ electro-oriented rap only sparingly, concentrating ░██▌▄▀
██▌▄▀█ instead on fusion -- exemplified by his singles with ░██▌▄▀
██▌▄▀█ ex-Sex Pistol John Lydon and fellow godfather James ░██▌▄▀
██▌▄▀█ Brown. Bambaataa had moved to the background by the ░██▌▄▀
██▌▄▀█ late '80s (as far as hip-hop was concerned), but the ░██▌▄▀
██▌▄▀█ rise of his Zulu Nation collective -- including De La ░██▌▄▀
██▌▄▀█ Soul, Queen Latifah, A Tribe Called Quest, and the ░██▌▄▀
██▌▄▀█ Jungle Brothers -- found him once more being tipped ░██▌▄▀
██▌▄▀█ as one of rap's founding fathers. ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ Born Kevin Donovan in the Bronx on April 10, 1960, ░██▌▄▀
██▌▄▀█ Afrika Bambaataa Aasim took his name from a 19th ░██▌▄▀
██▌▄▀█ century Zulu chief. Beginning in 1977, Bambaataa ░██▌▄▀
██▌▄▀█ began organizing block parties and breakdancing ░██▌▄▀
██▌▄▀█ competitions around the Bronx. His excellent ░██▌▄▀
██▌▄▀█ turntable techniques led many to proclaim him the ░██▌▄▀
██▌▄▀█ best DJ in the business (though Grandmaster Flash and ░██▌▄▀
██▌▄▀█ DJ Kool Herc were more innovative), and his record ░██▌▄▀
██▌▄▀█ debut -- as a producer -- came in 1980 with Soul ░██▌▄▀
██▌▄▀█ Sonic Force's "Zulu Nation Throwdown." The single was ░██▌▄▀
██▌▄▀█ a rallying cry for the Zulu Nation, a group of ░██▌▄▀
██▌▄▀█ like-minded Afrocentric musicians that only gained ░██▌▄▀
██▌▄▀█ fame in the late '80s but had influenced the rise of ░██▌▄▀
██▌▄▀█ hip-hop crews throughout the decade. ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ Aside from more production credits on several later ░██▌▄▀
██▌▄▀█ singles during 1980-1981, Afrika Bambaataa didn't ░██▌▄▀
██▌▄▀█ become an actual recording artist until 1982. He ░██▌▄▀
██▌▄▀█ signed with Tommy Boy records and released his first ░██▌▄▀
██▌▄▀█ single, "Jazzy Sensation," early that year. "Planet ░██▌▄▀
██▌▄▀█ Rock" followed in June and quickly exploded. Recorded ░██▌▄▀
██▌▄▀█ with the help of producer/dancefloor authority Arthur ░██▌▄▀
██▌▄▀█ Baker and assimilating the melody of Kraftwerk's ░██▌▄▀
██▌▄▀█ "Trans-Europe Express," the single hit number four on ░██▌▄▀
██▌▄▀█ the R&B charts (but missed the pop Top 40) and joined ░██▌▄▀
██▌▄▀█ the Sugarhill Gang's "Rapper's Delight" as one of the ░██▌▄▀
██▌▄▀█ early classics of hip-hop. (Grandmaster Flash's "The ░██▌▄▀
██▌▄▀█ Message" followed just three months later.) In the ░██▌▄▀
██▌▄▀█ single's wake came dozens of electro groups and ░██▌▄▀
██▌▄▀█ recordings, though none touched the quality of ░██▌▄▀
██▌▄▀█ "Planet Rock" -- except, perhaps, Bambaataa's own ░██▌▄▀
██▌▄▀█ follow-up, "Looking for the Perfect Beat." Out of ░██▌▄▀
██▌▄▀█ those electro groups came several predominant dance ░██▌▄▀
██▌▄▀█ styles of the 1980s and '90s: Detroit techno, Miami ░██▌▄▀
██▌▄▀█ bass, and, to a more limited extent, Chicago house. ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ Freed somewhat by his new-found popularity, Afrika ░██▌▄▀
██▌▄▀█ Bambaataa began branching out in 1984, recording ░██▌▄▀
██▌▄▀█ "Unity" with help from James Brown and "World ░██▌▄▀
██▌▄▀█ Destruction" with John Lydon (as Time Zone). That ░██▌▄▀
██▌▄▀█ same year, Bambaataa delivered an album debut of ░██▌▄▀
██▌▄▀█ sorts, Shango Funk Theology, recorded as Shango with ░██▌▄▀
██▌▄▀█ Material personnel Bill Laswell and Michael Beinhorn. ░██▌▄▀
██▌▄▀█ A virtually LP-length single titled "Funk You!" ░██▌▄▀
██▌▄▀█ appeared in 1985, after which Bambaataa recorded his ░██▌▄▀
██▌▄▀█ proper album debut, Beware (The Funk Is Everywhere). ░██▌▄▀
██▌▄▀█ He left Tommy Boy in 1986 after an album compilation ░██▌▄▀
██▌▄▀█ of "Planet Rock" mixes, and signed with Capitol. The ░██▌▄▀
██▌▄▀█ first album release for the label was 1988's The ░██▌▄▀
██▌▄▀█ Light, recorded as Afrika Bambaataa & the Family, ░██▌▄▀
██▌▄▀█ which included contributions from George Clinton, ░██▌▄▀
██▌▄▀█ UB40, Bootsy Collins, and Boy George. Three years ░██▌▄▀
██▌▄▀█ later, Bambaataa's third album, 1990-2000: Decade of ░██▌▄▀
██▌▄▀█ Darkness, was released on Capitol, coinciding with ░██▌▄▀
██▌▄▀█ his career retrospective Time Zone, released on his ░██▌▄▀
██▌▄▀█ own Planet Rock Records. Bambaataa recorded ░██▌▄▀
██▌▄▀█ erratically during the '90s, but returned to the ░██▌▄▀
██▌▄▀█ mainstream in 1997 with Zulu Groove. The new ░██▌▄▀
██▌▄▀█ millennium brought the release of Hydraulic Funk on ░██▌▄▀
██▌▄▀█ Strictly Hype. Electro Funk Breakdown followed in ░██▌▄▀
██▌▄▀█ early 2001. ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ Man Parrish.... ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ Although he produced only a handful of tracks of ░██▌▄▀
██▌▄▀█ renown and disappeared into obscurity almost as ░██▌▄▀
██▌▄▀█ quickly as he had emerged from it, Manny Parrish is ░██▌▄▀
██▌▄▀█ nonetheless one of the most important and influential ░██▌▄▀
██▌▄▀█ figures in American electronic dance music. Helping ░██▌▄▀
██▌▄▀█ to lay the foundation of electro, hip-hop, freestyle, ░██▌▄▀
██▌▄▀█ and techno, as well as the dozens of subgenres to ░██▌▄▀
██▌▄▀█ splinter off from those, Parrish introduced the ░██▌▄▀
██▌▄▀█ aesthetic of European electronic pop to the American ░██▌▄▀
██▌▄▀█ club scene by combining the plugged-in disco-funk of ░██▌▄▀
██▌▄▀█ Giorgio Moroder and the man-machine music of ░██▌▄▀
██▌▄▀█ Kraftwerk with the beefed-up rhythms and cut'n'mix ░██▌▄▀
██▌▄▀█ approach of nascent hip-hop. As a result, tracks like ░██▌▄▀
██▌▄▀█ "Hip-Hop Be Bop (Don't Stop)" and "Boogie Down Bronx" ░██▌▄▀
██▌▄▀█ were period-defining works that provided the basic ░██▌▄▀
██▌▄▀█ genetic material for everyone from Run-D.M.C. and the ░██▌▄▀
██▌▄▀█ Beastie Boys to Autechre and Andrea Parker -- and ░██▌▄▀
██▌▄▀█ they remain undisputed classics of early hip-hop and ░██▌▄▀
██▌▄▀█ electro to this day. A native New Yorker, Parrish was ░██▌▄▀
██▌▄▀█ a member of the extended family of glam-chasers and ░██▌▄▀
██▌▄▀█ freakazoids that converged nightly at Studio 54. His ░██▌▄▀
██▌▄▀█ nickname, Man, first appeared in Andy Warhol's ░██▌▄▀
██▌▄▀█ Interview magazine, and his early live shows at Bronx ░██▌▄▀
██▌▄▀█ hip-hop clubs were spectacles of lights, glitter, and ░██▌▄▀
██▌▄▀█ pyrotechnics that drew as much from the Warhol ░██▌▄▀
██▌▄▀█ mystique as from the Cold Crush Brothers. ░██▌▄▀
██▌▄▀█ ░██▌▄▀
██▌▄▀█ Influenced by the electronic experiments of Klaus ░██▌▄▀
██▌▄▀█ Nomi and Brian Eno as well as by Kraftwerk, Parrish ░██▌▄▀
██▌▄▀█ together with Ra·l Rodrφguez recorded their ░██▌▄▀
██▌▄▀█ best-known work in a tiny studio sometimes shared ░██▌▄▀
██▌▄▀█ with Afrika Bambaataa, whose own sessions with Arthur ░██▌▄▀
██▌▄▀█ Baker and John Robie produced a number of classics ░██▌▄▀
██▌▄▀█ equal to Parrish's own, including "Wildstyle," ░██▌▄▀
██▌▄▀█ "Looking for the Perfect Beat," and the famous ░██▌▄▀
██▌▄▀█ "Planet Rock." What distinguished "Hip-Hop Be Bop," ░██▌▄▀
██▌▄▀█ however, was its lack of vocals and the extremely ░██▌▄▀
██▌▄▀█ wide spectrum of popularity it gained in the club ░██▌▄▀
██▌▄▀█ scene, from ghetto breakdance halls to uptown clubs ░██▌▄▀
██▌▄▀█ like Danceteria and the Funhouse. After he discovered ░██▌▄▀
██▌▄▀█ a pirated copy of his music being played by a local ░██▌▄▀
██▌▄▀█ DJ, Parrish found his way to the offices of the ░██▌▄▀
██▌▄▀█ Importe label (a subsidiary of popular dance imprint ░██▌▄▀
██▌▄▀█ Sugarscoop), with whom he inked his first deal. He ░██▌▄▀
██▌▄▀█ released his self-titled LP shortly after, and the ░██▌▄▀
██▌▄▀█ album went on to sell over two million copies ░██▌▄▀
██▌▄▀█ worldwide. Following a period of burn-out, Parrish ░██▌▄▀
██▌▄▀█ recorded and remixed tracks for Michael Jackson, Boy ░██▌▄▀
██▌▄▀█ George, Gloria Gaynor, and Hi-NRG group Man 2 Man, ░██▌▄▀
██▌▄▀█ among others, and served as road manager for the ░██▌▄▀
██▌▄▀█ Village People. While Parrish's subsequent material ░██▌▄▀
██▌▄▀█ achieved nowhere near the success or creative pitch ░██▌▄▀
██▌▄▀█ of his earlier work, he continued to record from his ░██▌▄▀
██▌▄▀█ Brooklyn studio and has been a frequent DJ at New ░██▌▄▀
██▌▄▀█ York S&M clubs. His second LP, Dreamtime, appeared on ░██▌▄▀
██▌▄▀█ Strictly Rhythm in 1997. ░██▌▄▀
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▄▀██▀ ......................... ▄▀██▀
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▀▄█▄ [Track Information] ▀▄█▄
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▄▀██▀ 01. Get Up and Dance 05:19 ▄▀██▀
▄▀██▀ 02. Boogie Down Bronx 05:43 ▄▀██▀
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▀▄███ Greetings, obviously you are reading this because ▐███▀
░███▄ BOSS has caught your attention in one way or another, ██▌▄
███▄▀ most likely from this great release. ░██▀▄
██▌▄▀ ▄▀▄▀▀
░██▀▄ BOSS has many quality rls' everyday you just have to ▀█▀▄
▄▀▄▀▀ find them. Our team started to release internationally ██▀█
▀█▀▄ in 2000. In our group news we always inform you with ▄▀██▀
░██▀█ what we are looking for. ▄▀██
▄▀██▀ ▀▄█▄
▄▀██ ░█▄▀▄
▀▄█▄ Currently BOSS is looking for: ▄▀██▀
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▄▀██▀ 1) MEMBERSHIP IS CLOSED DO NOT BOTHER US!!! ░██▄
▄▀██ ██▄▀
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░██▄▀ Remember we do this for fun!! If you like the rls then ▀▄██
▄▀▄▀ go buy it and support the artist!!! ░██▄
▀▄██ ██▀▄
░██▄ We kindly ask for the security of our scene to not ▀█▀
██▀▄ spread our releases via p2p (kazaa, soulseek, etc.) ▄▀██
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▄▀██ Greetz Fly Too: ░███▄
▄░██ ░██▄▀
███▄ tronik sour RFL USF MS tr aPC CMS soup #ascii.cl ▄▀██
░██▄▀ (and any others we respect..u know who you are) ███
▄▀██ ▀▐██▌
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▀▐██▌ GREETZ THE BOSS CREW!!! ▄▀▄▄
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▄▀▄▄▀▄ ascii by caciq #ascii.cl ▀█ █▄▄▀
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