First of all if we listn to the break presented on the radio show. We wanna know is this a new played version, or is this a 2 bar break which was played in the original recording session, but was maybe edited away for release.
So to answer the question. This is the same break we used to cut up for the last 30 years.
How can I proof it ?? Check this audio file. First you will hear the cowbell-less break, than you will hear the original version but I panned it and used the stereo side where the cowbells are lower in volume.
After that i mixed them together, what happens is that you get something which is called flanging. DJs know this effect and will recognise in a second.
First I thought it sounded like some backwards loops, and I use a technique to extend or manipulate loops by using fragments of the sample in a forward/backward loop style.
But after I listened closeley I came to the point that there is no backwards looping. What happens is that at one 16th before the first snare the sound of the cowbell comes back. Which means it is there before too, but was manipulated away by a filter or another technique I dont know.
Did you ever buy a CD reissue of some 30s music ?? If yes than you came across a effect where the record company tried to get the best out of this old recordings, because they think that all the hiss noise and static from these classic recordings would be a pain to the ears of the listeners. So they ran this material through a filter. If you now listen to a tune which ran through those noise reduction filters you will recognise that in certain parts the tune sounds like it has more high frequencys and in some you think it sounds all muddy. This comes because in those parts where they are playing instruments which have less natural highs like a piano, the filter will work stronger than in a part where a singer is. This means that the filter is opening up when a lot of high frequencies are coming into play.
If you keep this effect in mind, it could be that the filter used here opens up for the ghostsnare and ghostbassdrum that is one 16th before the snare, therefore we can hear the cowbell again.
To me it sounds manipulated, and it doesnt sound like it was manipulated in 1973.
If you listen to the end of the radio snippet you will hear that the cowbell-less break is even longer than the famous 2 bars. If you listen to this snippet I made you will hear that the dude from the radio speaker, that is sometimes refered as audience noise, says something like "master" and he is saying it right onto the offbeat after the first bassdrum of the second 2 bars in the original recordings.
This is the first two 8th of the second 2 bar loop from the original 12". Which means that the cowbell-less break is even longer than we ever thaught.
Thats no proof for a hoax, but you will hear it in this clip, thats why I'm mentioning it.
Another proof for a hoax to me is that if you listen closely to the bassdrum section, you will hear a diffrence when the original full cowbell break comes in.
The bassdrum is deeper and fatter. I checked it with my frequency analyser and the cowbell-less break got less volume around 30hz than the full original break.
I think this comes from the fact that they manipulated only the one panned side of the break, that side where the bells are allready lower in volume, on that side the bassdrum is not as fat as on the other channel.
I think this is a very good manipulated mono sample of the original break. I dont think it was done in 1973 till I see and hear the original record Biz Markie is talking about.
Um, I don't know about all that, but I've never seen a filter that could pull the bells out like that and leave the drums intact. To my ears, it just sounds like someone pulling the 'bells' fader down on the console and then bringing it back up slightly at the end, like someone would do if they were making a club mx, as Jonny said.
I didnt listen to your soundclips, but until someone creates a similar sound from the OG mardi gras break, I'm pretty close to sold. If someone's got a notch filter or something that can pull the bells out like that, I'm all ears...
Aren't the bells panned to one side pretty hard on at least one of the pressings? I'm 99.999% sure I remember hearing a copy in the store once in the headphones that was panned. Could easily be seperated out with just a bit of the bells playing and not be audible on a laptop speaker.
To my ears, it just sounds like someone pulling the 'bells' fader down on the console and then bringing it back up slightly at the end, like someone would do if they were making a club mx, as Jonny said.
I get what you are saying, but please tell me why is this crazy innovative mix engineur pulling up the fader one 16th before the first snare ??? Just to let the fader drop again at the snare ??
I dont believe it, I mean the first 16th is the part I concentrated on, but there are more parts where you can hear some rest-cowbell.
And the other question is, why was this engineer using just the one side with the less fat bassdrum and the less cowbells for his club mix ?? He had multitracks right ???
After that i mixed them together, what happens is that you get something which is called flanging. DJs know this effect and will recognise in a second.
Correct, and the funny thing is I was about to do something similar but I'm glad you beat me to it.
Producers for years were known to spot certain breaks and horn stabs simply by isolating the left or right channel, or with a bit of know-how, isolating one of the channels on a discrete quadraphonic mix ("discrete" meaning 4 distinct channels of audio). However, there was never a quad mix of "Mardi Gras" so that cancels that idea out too.
As I said before, was the song used for one of those Silver Burdett Pipeline records, where an engineer or producer would demonstrate how a song was mixed from the multi-tracks? It *might* be possible, since the Pipeline series was released through Columbia Special Products, and James was about to do the Tappan Zee thing with them. But having a few Pipeline records, I don't think that this is the case either. I have a Pipeline record of an engineer showing the elements of Aerosmith's "Dream On", from the female background vocals that was only on the 45 version, isolated drums, isolated bass, isolated guitar, Steven Perry's vocal track, all of that. If "Mardi Gras" was done that way, I would think that the drums would be free of ANY sounds, and I highly doubt you'd hear the radio station that clearly, or that Steve Gadd would have radio frequencies blasting through his headphones, so that it would leak through to the drum mics.
Plus, you still hear hints of the bells in there. If anything, it's a crafty way to make the drums stand out, but that's not anything new, that's just a production technique. Bootleggers used to isolate Beatles songs and claim they were legitimate instrumentals, or when there was no true stereo mix of "She Loves You", someone just got the stereo mix of "Sie Liebt Dich" and mixed it with "She Loves You" and boom, instant stereo mix. Or how you can adjust a mono recording by moving one of the channels by a few milliseconds, which gives it a more "lively" feel and making people think it's stereo.
If the actual record exists, show a label scan. If a producer was paid to do a remix of a song, with the multi-tracks available to them, I would think that at this point those isolated tracks would have surfaced in some form. Considering how many unauthorized 12" singles have come out with songs with famous breaks (such as the Alpha Omega series), you would think one of them would have enough money to research and hunt down the record, or gain access to the master tapes and do it themselves.
Once the label scan or some kind of record information is shown, then it's settled.
And the other question is, why was this engineer using just the one side with the less fat bassdrum and the less cowbells for his club mix ?? He had multitracks right ???
Are we talking about Rudy van Gelder ???
He is still here, does anyone have contacts ???
I mean why are we not asking him !!!!?????
While Rudy Van Gelder was the engineer, would he have been responsible for creating a special disco mix of the song? My guess would be no, but that if there was a remix engineer, he woud've had access to the multi-tracks.
Or Doug Payne, the writer who has a healthy CTI discography on his own site. In fact, I'm going to write to him now and see if I get a response.
Could be that a club mix would be done by another mixer, but what I meant with my Rudy statement was something diffrent.
We should ask Rudy how he recorded the whole thing.
How many mics on drums, and if the cowbell is a overdu, which would mean you can just mute the track with it, and there would be no cowbell bleading into other mics.
Or if it was played all together and the cowbell was recorded into the hihat mic or whatever.
No single cowbell track means no possibilty of muting !!!!!!!!!!!!!
Only manipulation through panning and other effects.
To my ears, it just sounds like someone pulling the 'bells' fader down on the console and then bringing it back up slightly at the end, like someone would do if they were making a club mx, as Jonny said.
I get what you are saying, but please tell me why is this crazy innovative mix engineur pulling up the fader one 16th before the first snare ??? Just to let the fader drop again at the snare ??
Ok, whatever dude, we dont know anything about what comes after the drum intro, maybe it goes right into the bells part, and someone's fading in the bells as the second bar is ending. Doesnt seem that crazy or innovative to me, especially since we dont know what comes next.
And the other question is, why was this engineer using just the one side with the less fat bassdrum and the less cowbells for his club mix ?? He had multitracks right ???
Ok, but this also means absolutely nothing, we dont really know where this recording came from. No one here did the vinyl transfer, maybe biz had the bass eq a bit off when he recorded the loop. How could you possibly know what was done by the engineer and what was done during the transfer.
If this is as easy as isolating a stereo channel and adding some simulated stereo effects, than let someone post that up. I'm not sold either way, but your "evidence" is kinda weak, just saying....
Could be that a club mix would be done by another mixer, but what I meant with my Rudy statement was something diffrent.
We should ask Rudy how he recorded the whole thing.
How many mics on drums, and if the cowbell is a overdu, which would mean you can just mute the track with it, and there would be no cowbell bleading into other mics.
Or if it was played all together and the cowbell was recorded into the hihat mic or whatever.
No single cowbell track means no possibilty of muting !!!!!!!!!!!!!
Only manipulation through panning and other effects.
Right, and didn't someone say in the other thread that they were recently in contact with Bob James? If anyone would know about the tracking of the song, it would be him. If anyone does get in contact with RVG, I'm almost certain he would have the tracking notes for those sessions, since he pretty much kept everything he did since the 50's.
Could someone post a dope 2:30 version of the drums with the bells coming in and out. These tracks make me want to hear a longer version. I need the instro in my life. THanks in advance.
How could you possibly know what was done by the engineer and what was done during the transfer.
I don't think Hawkeye was trying to make an accurate statement, just an assumption of how the track was made. It's all guesswork until an engineer, producer, or musicians steps up and explains how they did it, but anyone who has ever had any experience with manipulating audio can listen and come very close to explaining how something was done. This isn't the pause-tape era anymore, and as I said in another thread, bootleggers have been playing with "studio tricks" for years to claim they had a mix of something that anyone at home could have created this.
All the guesswork is basically a way of coming closer to an answer.
Could someone post a dope 2:30 version of the drums with the bells coming in and out. These tracks make me want to hear a longer version. I need the instro in my life. THanks in advance.
if this was the beat playing from begining until the keys come in i would believe it - maybe. this is just a loop and is therefore already doctored and with the right eq and panning before sampling those bells go bye-bye. i appreciate the post, but don't be fooled.....
if this was the beat playing from begining until the keys come in i would believe it - maybe. this is just a loop and is therefore already doctored and with the right eq and panning before sampling those bells go bye-bye. i appreciate the post, but don't be fooled.....
I just recreated what was requested, unless you replying about the entire thread in general. I could have just slapped on a Simon Harris breakbeat record if that was the case.
Prediction: you will never see a label scan of this because IT DOESN'T EXIST. If you are so sure it does let's make a bet and see if an actual copy surfaces in the next five years. The loser has to jump from the top of a Mayan temple of the winner's choosing December 21 2012. Bring the pain bitches. 2012 no bells.
if this was the beat playing from begining until the keys come in i would believe it - maybe. this is just a loop and is therefore already doctored and with the right eq and panning before sampling those bells go bye-bye. i appreciate the post, but don't be fooled.....
I just recreated what was requested, unless you replying about the entire thread in general. I could have just slapped on a Simon Harris breakbeat record if that was the case.
simon harris rules! sike...
nah, i mean the part that was played from that radio show.
Come one people, use common sense. If this was a disco 12" version of Mardi Gras with no bells, do you think there would only be ONE known copy in the world that just happens to be owned by Biz?
If you know CTI you know Creed didn't roll like that. Selling AS MANY records as possible was the name of the game, not one of disco pressings (unless Creed Taylor was the first hipster).
This may or may not exist (Santa Claus Theory) but if you think it does, plaese to come up with a more plausable explanation on how it would have been released.
Might I suggest Alternate Version Acetate submitted to RVG for approval?
I've been looking at these forums off and on for about 2 years..Great site!
Go to Wbai.org Search the archives for Sunday Dec.16th for the "Underground Railroad" which has been my favorite show online for 5 years..Legendary status
Around the 59 minute mark,right after Kool G. Rap's "Road To The Riches" J Smooth starts playing it.
J Smooth even says thank's to Biz..
Now on computer speakers,it's kind of heard to tell,but the bells sound panned out,although you can still barely hear them..Whoever recorded it,has it on loop.
I hope people find this audio at least a little bit informative. The Archives won't stay up forever,so go check it out.
PEACE!
no disrepect to you Hoosier Daddy if you're legit, but the whole thing is rather suspect.
just when there was a resurgence in Mardi-gras related Biz discussion on the strut (at least 2 threads in the last two weeks, plus a couple non-Mardi Gras related Biz threads), some "longtime lurker" that no one has ever heard of "happens" to have recently heard a radio show (JUST THIS PAST WEEKEND! -- SUSPECT) that featured said break.
plus dude makes it a point to shout out the radio show as "classic," leading me to beleive (unless anyone knows of the Underground Railroad program and can tell me otherwise) that Hoosier Daddy = the Underground Railroad DJ. that much schould be obvious.
and he just used some computer program to remove/muffle the bells and created a fictitious "DJ set," uploaded it, and launched his now-epic first post.
VOILA! Perfect way for an unknown lurker to gain instant respect on the Strut, right? I mean isn't the whole thing a little too perfect? (I will say this, the one called Hoosier Daddy is no idiot; he's been lurking for months -- years? -- and knows EXACTLY what would gain the Strut massive's respect).
Even if this is a legit radio show and even if this was a legit MP3 of one of the broadcasts, this particular part was (a) not from vinyl or (b) somehow manipulated from vinyl and (c) DEFINITELY designed to post on the Strut and fool everyone.
In conclusion, this is an elaborate hoax. One day there may be a "Hoosier Daddy Vindicated" thread. But until then this is fraudulent to me.
Sayin'. Until I see video of Biz or anyone hold the record up to the camera so I can read the label and then put the thing directly on the turntable and play the first 20 seconds....
Even with evidence like I might still be dubious, but still. I actually hope that it never surfaces, because the constant discussions are more fun and satisfying than I think seeing it proved would be.
didn't there used to be Mythical Raer graemlin? Raj, holler!
plus the whole "HOLY GRAIL" shout out the DJ does on there? suspect.
dude is clearly a strut lurker (and no I don't think Strutters are the only ones who know of/geek over the bell-less mardi gras and use the phrase "holy grail")...but c'mon it's MORE than a little suspect.
c'mon people, this was designed to fool the strut and many of you have fallen for it.
We have defenitley heard a Mardi Gras version with almost no bells. Whatever the original source is, if Biz Markie got it, if its a hoax from the radio show host or someone who becomes a member and was a lurker before, we have now heard a bell-less version of Mardi Gras.
By the way is it now against the law to become a member ?? I welcome every lurker who becomes a member and is NO idiot, enough arrogant motherfuckers on this board acting like kids
SS has become a little bit to competitiv in my opinion. I thought we are talking about records, producing and music stuff, instead we fight for being the coolest kid on the block.
Fuck that, I'm here for sharing knowledge, not hate.
plus the whole "HOLY GRAIL" shout out the DJ does on there? suspect.
dude is clearly a strut lurker (and no I don't think Strutters are the only ones who know of/geek over the bell-less mardi gras and use the phrase "holy grail")...but c'mon it's MORE than a little suspect.
c'mon people, this was designed to fool the strut and many of you have fallen for it.
lol, dude - the underground railroad is a well-known radio show that predates soulstrut.
I'm not convinced either but you might want to think before you poast (tm).
By the way is it now against the law to become a member ?? I welcome every lurker who becomes a member and is NO idiot, enough arrogant motherfuckers on this board acting like kids
oh no doubt. but if you read my post it explains why I THINK dude is full of shit and is basically playing us. Hoosier dude: my apologies if this is not the case. I'm not just hatting on a new poster -- far from it. I think there's a sizaeble amount of circumstantial evidence in this case, though, that dude is full of shit.
I want to know the truth about the break. Biz Markie please show us the record Bob James tell us how many mics you had The same for Rudy van Gelder
I think the idea that WBAI, The Underground Railroad Show and Jay Smooth are all involved in some sort of prank JUST for the strut, is comedy. Maybe Biz and Questlove are also part of this vast conspiracy to clon the Strut....
Comments
First of all if we listn to the break presented on the radio show. We wanna know is this a new played version, or is this a 2 bar break which was played in the original recording session, but was maybe edited away for release.
So to answer the question. This is the same break we used to cut up for the last 30 years.
How can I proof it ?? Check this audio file. First you will hear the cowbell-less break, than you will hear the original version but I panned it and used the stereo side where the cowbells are lower in volume.
After that i mixed them together, what happens is that you get something which is called flanging. DJs know this effect and will recognise in a second.
mardi gras break hoax one.mp3 - 1.07MB
Now that we know we are talking about the exact same break, we wanna know HOW IS IT POSSIBLE THAT THERE ARE NO COWBELLS ????
Well, I dont know exactly why, but I know that there ARE Cowbells I'm hearing.
Listen to the first half of the break which I looped, after that I raised the volume one 16th before the snare.
mardi gras break hoax two.mp3 - 0.40MB
First I thought it sounded like some backwards loops, and I use a technique to extend or manipulate loops by using fragments of the sample in a forward/backward loop style.
But after I listened closeley I came to the point that there is no backwards looping. What happens is that at one 16th before the first snare the sound of the cowbell comes back. Which means it is there before too, but was manipulated away by a filter or another technique I dont know.
Did you ever buy a CD reissue of some 30s music ?? If yes than you came across a effect where the record company tried to get the best out of this old recordings, because they think that all the hiss noise and static from these classic recordings would be a pain to the ears of the listeners. So they ran this material through a filter. If you now listen to a tune which ran through those noise reduction filters you will recognise that in certain parts the tune sounds like it has more high frequencys and in some you think it sounds all muddy. This comes because in those parts where they are playing instruments which have less natural highs like a piano, the filter will work stronger than in a part where a singer is. This means that the filter is opening up when a lot of high frequencies are coming into play.
If you keep this effect in mind, it could be that the filter used here opens up for the ghostsnare and ghostbassdrum that is one 16th before the snare, therefore we can hear the cowbell again.
To me it sounds manipulated, and it doesnt sound like it was manipulated in 1973.
If you listen to the end of the radio snippet you will hear that the cowbell-less break is even longer than the famous 2 bars. If you listen to this snippet I made you will hear that the dude from the radio speaker, that is sometimes refered as audience noise, says something like "master" and he is saying it right onto the offbeat after the first bassdrum of the second 2 bars in the original recordings.
This is the first two 8th of the second 2 bar loop from the original 12". Which means that the cowbell-less break is even longer than we ever thaught.
Thats no proof for a hoax, but you will hear it in this clip, thats why I'm mentioning it.
Another proof for a hoax to me is that if you listen closely to the bassdrum section, you will hear a diffrence when the original full cowbell break comes in.
The bassdrum is deeper and fatter. I checked it with my frequency analyser and the cowbell-less break got less volume around 30hz than the full original break.
I think this comes from the fact that they manipulated only the one panned side of the break, that side where the bells are allready lower in volume, on that side the bassdrum is not as fat as on the other channel.
http://www.zshare.net/audio/5773303ff9e6e0/
I think this is a very good manipulated mono sample of the original break. I dont think it was done in 1973 till I see and hear the original record Biz Markie is talking about.
Peace
Hawkeye
"Braek Collector"? More like "Braek Scientist"!
I didnt listen to your soundclips, but until someone creates a similar sound from the OG mardi gras break, I'm pretty close to sold. If someone's got a notch filter or something that can pull the bells out like that, I'm all ears...
I get what you are saying, but please tell me why is this crazy innovative mix engineur pulling up the fader one 16th before the first snare ??? Just to let the fader drop again at the snare ??
I dont believe it, I mean the first 16th is the part I concentrated on, but there are more parts where you can hear some rest-cowbell.
And the other question is, why was this engineer using just the one side with the less fat bassdrum and the less cowbells for his club mix ?? He had multitracks right ???
Are we talking about Rudy van Geldern ???
He is still here, does anyone have contacts ???
I mean why are we not asking him !!!!?????
Peace
Hawkeye
Correct, and the funny thing is I was about to do something similar but I'm glad you beat me to it.
Producers for years were known to spot certain breaks and horn stabs simply by isolating the left or right channel, or with a bit of know-how, isolating one of the channels on a discrete quadraphonic mix ("discrete" meaning 4 distinct channels of audio). However, there was never a quad mix of "Mardi Gras" so that cancels that idea out too.
As I said before, was the song used for one of those Silver Burdett Pipeline records, where an engineer or producer would demonstrate how a song was mixed from the multi-tracks? It *might* be possible, since the Pipeline series was released through Columbia Special Products, and James was about to do the Tappan Zee thing with them. But having a few Pipeline records, I don't think that this is the case either. I have a Pipeline record of an engineer showing the elements of Aerosmith's "Dream On", from the female background vocals that was only on the 45 version, isolated drums, isolated bass, isolated guitar, Steven Perry's vocal track, all of that. If "Mardi Gras" was done that way, I would think that the drums would be free of ANY sounds, and I highly doubt you'd hear the radio station that clearly, or that Steve Gadd would have radio frequencies blasting through his headphones, so that it would leak through to the drum mics.
Plus, you still hear hints of the bells in there. If anything, it's a crafty way to make the drums stand out, but that's not anything new, that's just a production technique. Bootleggers used to isolate Beatles songs and claim they were legitimate instrumentals, or when there was no true stereo mix of "She Loves You", someone just got the stereo mix of "Sie Liebt Dich" and mixed it with "She Loves You" and boom, instant stereo mix. Or how you can adjust a mono recording by moving one of the channels by a few milliseconds, which gives it a more "lively" feel and making people think it's stereo.
If the actual record exists, show a label scan. If a producer was paid to do a remix of a song, with the multi-tracks available to them, I would think that at this point those isolated tracks would have surfaced in some form. Considering how many unauthorized 12" singles have come out with songs with famous breaks (such as the Alpha Omega series), you would think one of them would have enough money to research and hunt down the record, or gain access to the master tapes and do it themselves.
Once the label scan or some kind of record information is shown, then it's settled.
While Rudy Van Gelder was the engineer, would he have been responsible for creating a special disco mix of the song? My guess would be no, but that if there was a remix engineer, he woud've had access to the multi-tracks.
Or Doug Payne, the writer who has a healthy CTI discography on his own site. In fact, I'm going to write to him now and see if I get a response.
THIS IS A LIFE OR DEATH SITUATION PEOPLE - MAKE ROOM!
We should ask Rudy how he recorded the whole thing.
How many mics on drums, and if the cowbell is a overdu, which would mean you can just mute the track with it, and there would be no cowbell bleading into other mics.
Or if it was played all together and the cowbell was recorded into the hihat mic or whatever.
No single cowbell track means no possibilty of muting !!!!!!!!!!!!!
Only manipulation through panning and other effects.
Peace
Hawkeye
Hawkeye, I haven't heard what you did with the sample but what I read sounds good to me.
That's "exactly" what I was about to do, thanks.
Ok, whatever dude, we dont know anything about what comes after the drum intro, maybe it goes right into the bells part, and someone's fading in the bells as the second bar is ending. Doesnt seem that crazy or innovative to me, especially since we dont know what comes next.
Ok, but this also means absolutely nothing, we dont really know where this recording came from. No one here did the vinyl transfer, maybe biz had the bass eq a bit off when he recorded the loop. How could you possibly know what was done by the engineer and what was done during the transfer.
If this is as easy as isolating a stereo channel and adding some simulated stereo effects, than let someone post that up. I'm not sold either way, but your "evidence" is kinda weak, just saying....
Right, and didn't someone say in the other thread that they were recently in contact with Bob James? If anyone would know about the tracking of the song, it would be him. If anyone does get in contact with RVG, I'm almost certain he would have the tracking notes for those sessions, since he pretty much kept everything he did since the 50's.
I don't think Hawkeye was trying to make an accurate statement, just an assumption of how the track was made. It's all guesswork until an engineer, producer, or musicians steps up and explains how they did it, but anyone who has ever had any experience with manipulating audio can listen and come very close to explaining how something was done. This isn't the pause-tape era anymore, and as I said in another thread, bootleggers have been playing with "studio tricks" for years to claim they had a mix of something that anyone at home could have created this.
All the guesswork is basically a way of coming closer to an answer.
I just recreated what was requested, unless you replying about the entire thread in general. I could have just slapped on a Simon Harris breakbeat record if that was the case.
simon harris rules! sike...
nah, i mean the part that was played from that radio show.
If you know CTI you know Creed didn't roll like that. Selling AS MANY records as possible was the name of the game, not one of disco pressings (unless Creed Taylor was the first hipster).
This may or may not exist (Santa Claus Theory) but if you think it does, plaese to come up with a more plausable explanation on how it would have been released.
Might I suggest Alternate Version Acetate submitted to RVG for approval?
no disrepect to you Hoosier Daddy if you're legit, but the whole thing is rather suspect.
just when there was a resurgence in Mardi-gras related Biz discussion on the strut (at least 2 threads in the last two weeks, plus a couple non-Mardi Gras related Biz threads), some "longtime lurker" that no one has ever heard of "happens" to have recently heard a radio show (JUST THIS PAST WEEKEND! -- SUSPECT) that featured said break.
plus dude makes it a point to shout out the radio show as "classic," leading me to beleive (unless anyone knows of the Underground Railroad program and can tell me otherwise) that Hoosier Daddy = the Underground Railroad DJ. that much schould be obvious.
and he just used some computer program to remove/muffle the bells and created a fictitious "DJ set," uploaded it, and launched his now-epic first post.
VOILA! Perfect way for an unknown lurker to gain instant respect on the Strut, right? I mean isn't the whole thing a little too perfect? (I will say this, the one called Hoosier Daddy is no idiot; he's been lurking for months -- years? -- and knows EXACTLY what would gain the Strut massive's respect).
Even if this is a legit radio show and even if this was a legit MP3 of one of the broadcasts, this particular part was (a) not from vinyl or (b) somehow manipulated from vinyl and (c) DEFINITELY designed to post on the Strut and fool everyone.
In conclusion, this is an elaborate hoax. One day there may be a "Hoosier Daddy Vindicated" thread. But until then this is fraudulent to me.
Sayin'. Until I see video of Biz or anyone hold the record up to the camera so I can read the label and then put the thing directly on the turntable and play the first 20 seconds....
Even with evidence like I might still be dubious, but still. I actually hope that it never surfaces, because the constant discussions are more fun and satisfying than I think seeing it proved would be.
didn't there used to be Mythical Raer graemlin? Raj, holler!
dude is clearly a strut lurker (and no I don't think Strutters are the only ones who know of/geek over the bell-less mardi gras and use the phrase "holy grail")...but c'mon it's MORE than a little suspect.
c'mon people, this was designed to fool the strut and many of you have fallen for it.
We have defenitley heard a Mardi Gras version with almost no bells. Whatever the original source is, if Biz Markie got it, if its a hoax from the radio show host or someone who becomes a member and was a lurker before, we have now heard a bell-less version of Mardi Gras.
By the way is it now against the law to become a member ??
I welcome every lurker who becomes a member and is NO idiot, enough arrogant motherfuckers on this board acting like kids
SS has become a little bit to competitiv in my opinion. I thought we are talking about records, producing and music stuff, instead we fight for being the coolest kid on the block.
Fuck that, I'm here for sharing knowledge, not hate.
I want to know the truth about the break.
Biz Markie please show us the record
Bob James tell us how many mics you had
The same for Rudy van Gelder
Peace
Hawkeye
lol, dude - the underground railroad is a well-known radio show that predates soulstrut.
I'm not convinced either but you might want to think before you poast (tm).
oh no doubt. but if you read my post it explains why I THINK dude is full of shit and is basically playing us. Hoosier dude: my apologies if this is not the case. I'm not just hatting on a new poster -- far from it. I think there's a sizaeble amount of circumstantial evidence in this case, though, that dude is full of shit.
Van Gelders studio is there.
Someone could ask him.
Does anyone have a phone number ???
Maybe he wrote it on a record sleeve. He didnt move since the 50s.
Peace
Hawkeye