IllmaticDelta
Veteran
The Disco vs HipHop divide he's talking about is not a musical one but one based on perceptions influenced by age. If the music was played in a club setting with people dressed up, younger people (that would go on to be indentified as hiphop) perceived this as "Disco" while the mobile djs in the parks playing the same music was viewed as "HipHop". For example, this is what Flowers was playing and doing:
Some of the records that Flowers was known for playing include “Space Age” by the Jimmy Castor Bunch, “Sunnin’ And Funnin’ by MFSB, “Somebody’s Gotta Go” by Mike and Bill. “Touch and Go” by Ecstasy, Passion and Pain, “Changes” by Vernon Burch and “Messin’ With My Mind” by Labelle. Another favorite of his was the rock group Babe Ruth’s “The Mexican” (which would later become a hip hop staple as a breakbeat record and sample). He would mix that with James Brown material, and he was also known to on occasion, use three turntables simultaneously. (He would combine Chic’s “Good Times,” MFSB’s “Love Is The Message,” and Vaughan Mason and Crew’s “Bounce Skate Roll Bounce” for example.)
RAPAMANIA: GRANDMASTER FLOWERS AND THE MOBILE DJ MOVEMENT by Steven Stancell
Troy- I am surprised to hear that. O.K. I am going to throw out some names give me some feedback on them any way you like or as long as you like. First up Grand Master Flowers. Now what I have on Flowers is he darkened the labels on his records. Flowers also made you expand your music after you heard him play James Brown and Babe Ruth together.
Plummer- Oh yeah I thought that was cool. Flowers was different kind of mixer. You go into the gay clubs and they use to play a lot of hustle type dance music. They also played with the music with the highs and lows and mix with the sound effects and stuff. But they would not pull out the Funk, or they would not go into rock. Flowers was sort of like a Jimmy Hendrix he would do everything and you were always learning from him. But the thing about him is he played these games, he would darken his records and stuff. A lot of times we knew what it was and if we didn’t we would make it our business to find out. But it wasn’t a cut throat type of thing. He and I had a pretty good relationship, we didn’t ever sour our relationship. People would talk junk but we knew it was just that, junk. But you know between myself, Flowers, Maboya and Pete D.j. Jones you heard our names on the radio more than anyone else.
Troy- Alright tell me about that James Brown and Babe Ruth mix by Flowers.
Plummer- Yeah when Flowers played that I didn’t know who Babe Ruth and The Mexican jam was and so when I heard this high shrill voice and with this Spanish sort of sounding instruments in the back and I thought this was cool because it just blended so nicely and only Flowers would do something like that, at least at that time. Later on everybody else started doing stuff like that as well.
Old School Hip Hop Interviews - DJ Plummer | OldSchoolHipHop.Com
and
Plummer- Yes, see I wasn’t in it to make a lot of money, that wasn’t in my mind. Had I seriously thought about that I don’t know if I seriously would have gotten as far and as fast as I did. The reason why I bought up Sedley is because he sounded like Hank Spann on the radio, so he was rapping over the records and all of the sudden between Pete d.j. Jones and myself we had a guy to rap over our music and then Flowers too got an m.c or two. Like I said we copied off of each other and so we all just got better every quickly.
Then there was these guys called the City Steppers (Flame, Michael, Dungie and Doc) and Sedley knew these folks. These were the guys that would take the card board out there and they would start doing break dancing and stuff, this was 1973, 74 and 75 I guess. They would come with us and do all this fantastic stuff and it just seemed like it happened so quickly.
Old School Hip Hop Interviews - DJ Plummer | OldSchoolHipHop.Com
everything he did is what we now associate with hiphop