The bassline and the rototom percussion break from the song's introduction (performed by Joseph "Lucky" Scott and "Master" Henry Gibson, respectively)Galloway, A. Scott (1999). In Super Fly (p. 8) [CD liner notes]. Burbank, CA: Rhino Records.
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Melodies generally follow a descending pattern. Many songs, especially Drum Dances, ended with a vocal glissando and percussion break, along with a spoken thank you (mahsi). Vocables are very common. Songs are typically composed anonymously, though there are no taboos on anyone writing most songs.
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It marked the group's first conscious delving into what is now called 'world music'. According to Robin Gibb, it grew out of Barry's visit to Africa. Maurice Gibb described this as "Barry's African jaunt". This is evident from the percussion break at the song's beginning.
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Michael Ames Viner ( ; February 27, 1944 – August 8, 2009) was an American film producer and record producer, who later shifted into book publishing and became an innovator in the audiobook field. A widely sampled percussion break in the recording of the song "Apache" by the Incredible Bongo Band, a group he assembled in the early 1970s, has been frequently integrated into many hip hop recordings.
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Although the Syndrum was capable of many different sounds, the one favored by most recording artists was a sine wave that pitch-bends down; it can be heard at the beginning of "Good Times Roll", the opening track of the Cars' 1978 debut album and the percussion break of "Rydeen" by Yellow Magic Orchestra. After the Syndrum’s introduction to the marketplace, several companies produced electronic drum units, such as the Synare.
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After the first "Now I know you're mine" line is sung, there is a percussion break, and repetition of the phrases "step to the beat" and "c'mon". The last verse incorporates echoing on the vocals, causing overlap of the phrases. The remix ends with instrumentation from congas, whistles and timbales, giving it a Mexican ending. Pettibone also remixed the song alongside Goh Hotoda for The Immaculate Collection (1990) compilation.
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"Breaking the Girl"'s bridge is marked by a percussion break that builds through the use of increasingly complex rhythms. The percussion instruments consisted of junkyard debris found by drummer Chad Smith, guitarist John Frusciante, and bassist Flea. Frusciante's main riff was inspired by Led Zeppelin's ballads, such as "The Battle of Evermore" and "Friends". The song also makes use of a 12-string guitar and a Mellotron, using the flute patch.
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Beyoncé said that she was very happy that they were able to work together after waiting for years. When Beyoncé invited her to record a song for the re-release of Beyoncé's studio second album, B'Day, Shakira was touring and consequently had difficulties to match her schedule with Beyoncé's. A few months later, Shakira agreed to sing on the track. As she recorded her vocals, the songwriters and producers added the ethnic strings and percussion break.
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Scott developed several innovations. He was the first disco DJ to use three turntables as sound sources, the first to simultaneously play two beat matched records, the first user of electronic effects units in his mixes and an innovator in mixing dialogue in from well-known movies into his mixes, typically over a percussion break. These mixing techniques were also applied to radio DJs, such as Ted Currier of WKTU and WBLS. Grasso is particularly notable for taking the DJ "profession out of servitude and [making] the DJ the musical head chef".
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However, early on the dance was known as the "boing" (the sound a spring makes). Dancers at DJ Kool Herc's parties saved their best dance moves for the percussion break section of the song, getting in front of the audience to dance in a distinctive, frenetic style. The "B" in B-boy or B-girl also stands simply for break, as in break-boy or -girl. Before the 1990s, B-girls' presence was limited by their gender minority status, navigating sexual politics of a masculine-dominated scene, and a lack of representation or encouragement for women to participate in the form.
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A trip hop song, "Unfinished Sympathy" incorporates drum programming and scratching performed by Mushroom into its arrangement; John Bush of AllMusic refers to these elements as references to the group's "b-boy past." The song's initial tone is set by "chilled hip hop beats" and samples of a percussion break from "Parade Strut (Instrumental)" by J. J. Johnson. Notably, the original album version of "Unfinished Sympathy" does not feature a traditional bass line. Vocal samples of a man singing "hey, hey, hey, hey..." – originating from John McLaughlin and the Mahavishnu Orchestra's "Planetary Citizen" – are present throughout the song.
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See: Music of Jamaica Undoubtedly the most influential Jamaican-American entertainer is DJ Kool Herc, who is often credited as the inventor of hip hop. He immigrated to New York City and brought with him the roots of hip hop—a DJ isolating and repeating a percussion break while an MC spoke over the beats. Second generation Jamaican Busta Rhymes was later an important gangsta rapper during the 1990s; his style is similar to that found in Jamaican dub and dancehall. For more information about Caribbean cultural influence in the United States, see Holger Henke's, The West Indian Americans, Westport: Greenwood Press 2001.
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In DJ parlance, in disco, hip hop and electronic dance music, a break is where all the elements of a song (e.g., synth pads, basslines, vocals), except for percussion, disappear; as such, the break is also called a "percussion break". This is distinguished from a breakdown, a section where the composition is deliberately deconstructed to minimal elements (usually the percussion or rhythm section with the vocal re- introduced over the minimal backing), all other parts having been gradually or suddenly cut out. The distinction between breaks and breakdowns may be described as, "Breaks are for the drummer; breakdowns are for electronic producers".
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In a song that is otherwise sung, a section that is not sung but which is played by instruments can be called an instrumental interlude, or, if it occurs at the beginning of the song, before the singer starts to sing, an instrumental introduction. If the instrumental section highlights the skill, musicality, and often the virtuosity of a particular performer (or group of performers), the section may be called a "solo" (e.g., the guitar solo that is a key section of heavy metal music and hard rock songs). If the instruments are percussion instruments, the interlude can be called a percussion interlude or "percussion break".
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Into the 1950s, Kinshasa and Brazzaville became culturally linked, and many musicians moved back and forth between them, most importantly Nino Malapet and one of the founders of OK Jazz, Jean Serge Essous. Recording technology had evolved to allow for longer playing times, and the musicians focused on the seben, an instrumental percussion break with a swift tempo that was common in rumba. Both OK Jazz and African Jazz continued performing throughout the decade until African Jazz broke up in the mid-1960s, TPOK Jazz with Franco Luambo Makiadi at the helm dominated soukous music for the next 20 years. Tabu Ley Rochereau and Dr. Nico then formed African Fiesta, which incorporated new innovations from throughout Africa as well as American and British soul, rock and country.
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In Vancouver, McCann teamed up with Guy Sobell, who produced her first single, the country-tinged "It Still Hurts" and its proposed B side "Tattoo Man". But her record label, Polydor Records in Montreal, decided the second song was too rock and roll oriented to serve as the B side to this country song, and they asked Sobell to extend it by adding a 2-minute percussion break in the middle so they could market it in the new clubs that were springing up all over Montreal. These clubs were playing a new genre of music that was called "Disco" for the discotheques where the beat-heavy dance music was popular and they wanted long, extended pieces that could be mixed by the club DJs to make them seamlessly meld into one another.
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Hola/Chau (Spanish for Hello/Bye), released in 2001, are the thirteenth and fourteenth albums from the Argentine band Los Fabulosos Cadillacs. These, their second live album set, are twin concert albums recorded at the Estadio Obras Sanitarias in Argentina. The concert includes most of the band's hits as well as a reunion with some of the former members of the band. In the concert, many of the songs differ for the original versions in length and sound: some of them are given an edgier sound, on others long instrumental passages are added (like "Piraña, Todos Los Argentinos Somos D.T.", which is given a two- minute percussion break) and some a more light, faster sound (such as "Vasos Vacíos", in which the audience and Vicentico alternate the part of Celia Cruz).
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Jamaican immigrant DJ Kool Herc is widely regarded as the progenitor of hip hop; he brought with him from Jamaica the practice of toasting over the rhythms of popular songs. Emcees originally arose to introduce the soul, funk, and R&B; songs that the DJs played, and to keep the crowd excited and dancing; over time, the DJs began isolating the percussion break of songs (when the rhythm climaxes), producing a repeated beat that the emcees rapped over. Eminem in 1999. He was the best-selling music artist of the 2000s in the United States. Unlike Motown which predicated its mainstream success on the class appeal of its acts that rendered racial identity irrelevant, hip hop of 1980s, particularly hip hop that crossed over to rock- and-roll, was predicated on its (implicit but emphatic) primary identification with black identity.
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