• Dj Rashad Just A Taste Rar Files

@selaone yeah im pretty sure they only exist on the site in full as the very low quality mp3. You seriously have just made me so happy you have no idea.crosses fingers and hopes 'dj diamond - tell dat hoe' is in here.it's not, sadly. It's on youtube though:just want to apologize in advance for the disorganized state of the file names and tags and all that in these RAR files.Also want to note that not all of it was recorded by me - some are random files I picked up along the way via soulseek.

I wish I had done more at the time. It truly disturbs me that so much will be lost and forgotten. It's not, sadly.

It's on youtube though:just want to apologize in advance for the disorganized state of the file names and tags and all that in these RAR files.Also want to note that not all of it was recorded by me - some are random files I picked up along the way via soulseek. I wish I had done more at the time. It truly disturbs me that so much will be lost and forgotten.yeah it is really sad:(and it's cool, i'll retag sooni'm surprised at the 320'sand yeah this is the one i came across but it's of such low quality:(. :(I was lucky enough to share the stage with him & Spinn two years ago. Besides being impressive performers, both came cross as extremely friendly, humble, down-to-earth. They played till about 3am but still stayed in the club till 5.30 or so. I came on at 4, playing strictly 91-93 hardcore & jungle records.

Apparently they had hardly ever heard this music before since they got really curious, asking around what the style is and being genuinely surprised it was 20 years old and not some new shit. Before leaving the club they came to the dj booth to say goodbye and gave me props for the set in such friendly a way, as if I was a part of their family, something that I rarely experience from local djs, let alone 'star' headliners.

Dj Rashad Just A Taste Rar Files

HyperdubDJ Rashad aka Rashad Hanif Harden, 34-years-old (born in Hammond, IN - October 9, 1979), the Calumet City, IL-based DJ and producer, passed away around 1:30 PM Saturday, April 26, 2014 on Chicago’s Lower West Side. He leaves behind a nine-year-old son, Chad and his parents, mother Gloria Harden, and father, Anthony Harden. The cause of his death has not yet been determined.Rashad's father told the Chicago Sun Times on Saturday: 'Since he was a kid, he’s been doing this. He knew what he wanted to do, and a lot of us don’t get a chance to make our dream come true.”His manager, Wes Harden: 'Rashad was a kind soul that left an indelible mark on the music world as the torchbearer of Footwork and Juke.

Rest assured that all of those close to him will make sure that the legacy lives on for a great man whose life has been cut far too short.' Kode9 from Hyperdub: 'I was honored to release music from Rashad on Hyperdub. I've only known him for around 3 years, but he had become a good friend and one of my biggest musical influences. He was one of the funniest, most positive people I've ever met and a true innovator. Everyone at the label is devastated by his passing and wish to send our sincere condolences to all his friends and family in Chicago, the Teklife crew and anyone anywhere who was graced by his presence and uplifted by his music.

I'll never forget singing duet with him in a karaoke bar in Tokyo'DJ Rashad was a quintessential figurehead in the evolution from Ghetto House to Chicago Juke to Footwork and one of the artists to have to consistently pushed the evolution of the Footwork genre forward. He was born in Chicago and moved to the deep south suburb of Calumet City, IL soon after.

Rashad started out as a dancer (around the time he was in seventh grade) cutting his teeth with some of the most respected dance groups including House.O.Matics, The Phyrm, and Wolf Pac. He quickly thereafter took up DJing with some of his first public gigs around 1992 at spots like his sixth grade high school club Jubilation. He met his longtime ally, DJ Spinn, during homeroom class at Thornwood High School in 1996. They quickly began producing tracks at each others' houses. During this era, they DJ'd parties with the likes of RP Boo, DJ Clent, Gant-.Man and others.His first release to make it to vinyl was the track 'Child Abuse' on Dance Mania (mislabeled as DJ Thadz) in 1998. Following the release of his single 'Itz Not Rite' (Planet Mu) and his inclusion on the 'Bangs and Works' album (Planet Mu) circa late 2010 he was constantly in demand around the world and spent the majority of his time on the road touring the world as a DJ, more often than not in tandem in with his closest, lifelong friend, DJ Spinn. He was involved in many Footwork cliques - including Beatdown House (founded by DJ Clent), the Ghettoteknitianz (with DJ Spinn) and Teklife.

As a producer his crowning achievement was the October 2013 release of his album 'Double Cup' on Hyperdub Records featuring collaborations with DJ Spinn, Taso, DJ Phil, Manny, Earl and Addison Groove. His last performance as a DJ was at Vinyl Club in Denver, CO on April 24, 2014. A new EP 'We On 1'is slated for release today Monday April 28th via a new Houston-based label called Southern Belle. His collaborations 'Acid Life' with Gant-Man and 'Bombaklot' with DJ Earl and DJ Taye are featured on the forthcoming Hyperdub 10th anniversary celebration album 'Hyperdub 10.1' which will be released May 20th.

His music will live on eternally. Not sure your link copied right:Chicago's Dance Battleground: Footworkin'January 29, 2006 By Johnathon E. Briggs, Tribune staff reporter101As snare-inflected house music split the air, James Kelly and the Sonic Heat II dance crew slithered through the shadows of a South Side gym, past hundreds of gyrating partygoers, on the prowl for a challenger.Spotting Tyrone Taylor and his Terra Squad, Kelly approached and, with the curl of an index finger, motioned for them to come over. Suddenly, in the wee hours of a Monday morning, the battle was on.http://articles.chicagotribune.com/2006-01-29/news/1street-dance-modern-dance-choreography-dance-group. Rolling Stone took some time off from their busy schedule of setting the women's rights movement backwards or writing about deadmau5 to catch up with footwork:'It's getting bigger and bigger — it's beautiful,' says RP Boo, the producer credited by many as the father of Chicago footwork. From its beginnings in the late Nineties, the genre — marked by dizzying loops, staccato synth stabs, antic polyrhythms and blasts of repetition, repetition, repetition — seemed designed to go everywhere and nowhere at once. Now, a half-decade after garnering global attention through the ear-bending Planet Mu compilation Bangs & Works Vol.

1, the sound of footwork is morphing into new forms from Poland to Japan, influencing the fringes of the avant-garde and taking stylistic leaps at home.Footwork's evolution does not appear to be slowing anytime soon. In September, DJ Spinn will release a new EP with a track featuring rapper Danny Brown (after some earlier hip-hop interaction with fellow Chicagoan Chance the Rapper). A new one released just this month finds him in collaboration with Canadian electro-soul artist Jessy Lanza.Follow us: @rollingstone on Twitter RollingStone on Facebookhttp://www.rollingstone.com/music/news/footwork-in-2015-dizzy-dance-music-evolves-past-its-chicago-roots-20150731?page=3. Im not paying as much attention to this as a few years back (how time has flown since those bangs n works albums) but i liked the jlin album a lot.the recent rp boo album is good, and contains a lot of what i like about footwork, if too long as an album. But the things that always bugged me about footwork - the way the samples often sound at odds with each other, rather than how they complement each other, i seem to find it more jarring than ever. Maybe i hoped that would stop at some point.

I know its always been like that but now i just seem to hear it as being poor handiwork. Maybe its just that the novelty has worn off so im looking at it in a less rapturous way.also bored of the 'bit of everything' sounding stuff - i dont really care that much for OG footwork producers making footwork-D&B-house-R&B-whatever. Anyone can do that. Here’s some maximalist Footwork and Jersey Club from the Japanese label Trekkie Trax.

It draws from J Pop, Chiptune and EDM; the result being something quite different from its American counterpart.a lot more on the label and there is also a lot of idiosyncratic Nuum influenced stuff. Polish Juke is a Polish Juke/Footwork label (believe it or not).Here’s a hardcore-inspired LP from them:most distinctive music is the stuff that eschews footwork’s typical 808 bass sounds, instead opting for things that tend to be a bit more mid-rangey.think Intruder Alert are also Polish. Maybe worth keeping an eye on what’s coming out from there.). Would anyone in the know or otherwise like to speculate on how influential this thread was in bringing this sound across the Atlantic and less important but sort of tangentially.exporting it back to White America.In my mind, Ben UFO was the first person to play Footcrab on Ruffage Sessions in early 2010, that was close to a sleng teng moment at the time. Mu officially signed Nate (who first appeared here via imeem) a few weeks later and the Hyperdub started running things from there on in with Swamp orbiting around.

Rashad & Spinn did the FACT mix, Boiler Room and the rest shortly after. Footwork had a huge influence on all the dubstep splinters, breathed new life into dnb on the D-Bridge side of things, Pritchard stuff, and formed a big part of the trans-atlantic Nightslugs conversation. There was a few weeks when everyone was mixing Addison Groove into Girl Unit into Pearson Sound but it all sorted of filted down after that.Paradinas, Goodman, MMS, etc, would have been regular/ occasion lurkers/posters so I presume this thread was ground zero?Interesting now that the pallet and style has been completely absorbed into the nuum gene pool while guys from Chicago are increasingly less 'house' and more nummish, unfortunately tbh.

I don't think its unfair knowing how many influencers actually posted on this thread. Two people are known affiliates to the Fade To Mind / Night Slugs crew now and one became a DJ on Rinse; Goodman's already someone, we all know Ben Ufo glanced at the thread. They might've known prior about the music but I'm sure that the interest in the whole scene was granted a pulse considerably by this thread and perhaps other realms of communication. As someone who was watching this thread sporadically, a lot of y'all kept this thing consistently active when everything else fell by the wayside.Seizing on something else you said though.

I mean, not for nothing, a bunch of these kids if left to their own devices might've followed the DJ Nate model and gone on to make more hip-hop based music, and maybe one or two of them would've stayed making juke/footwork on soundcloud for a community that was small and hard to break. And fwiw now a lot of the kids and elders have a novelty value that keeps them feeling of importance for 'music enthusiasts'. On the one hand its great for them, but on the other hand a lot of it is influenced by working to the desire and the curation of benefactors, subliminally.Its a cheap and odd distinction, but I feel like that a lot of the people you described aren't doing the traditional nuum activity of finding a genre and making it their home due to the genre they wanted to break into being overcrowded and inhospitable (the old grime/dubstep story of 'we wanted to be junglists but it was already an established pecking order' bit), a lot of these other lot just got bored. I'd argue there's more nuum to say, the Kowton/Blawan/Untold-types going off to make weird techno stuff than these guys who reinvent themselves every year to whatever's trending.'

Oh Fly Lo-type beats'nah, funky house'Nah, juke'Nah nah, halfstep 'grime' 'nah nah, footwork influenced JUNGLE!' .Like, I don't need to insert names, you can pick whom could be an appropriate candidate for that sort of behavior.What consistently happens is that the kids who these producers are inspired by/sign and sponsor sporadically while emulating/lose interest in have to end up figuring out if they want to emulate their world or redefine that to keep it interested to such a voracious and petulant market. Thankfully Planet Mu have done their absolute best to stay loyal to this scene and help work with the younger artists while curating the older artists but there's a weird disparity between the self-released stuff these artists might do and what inevitably gets released on a higher platform that suits the tastes of the benefactor. (Not a shot at Paradinas either, just he's in a weird mentor/appraiser role for some of these younger artists and invariably their careers get altered by his taste. Its no different than Goodman either) and so that resulting disconnect considering what media/press/whatever goes around the prestige label rather than the artists/genres who may not be thinking as consciously about promotion. Lol A good many years on this board too late but hey.Its so funny for me because obviously I like this stuff but.

In 2010 or so, local representers who posted here would mention things like 'yeah the scene is the best its ever been' or the youtube channels for the dancers would show New Boyz the 'jerk' rappers showing up in Chicago and giving some cheeky praise (which is kind of silly to quantify now as the New Boyz were an obvious one hit wonder in America but they actually got that hit wheras Footwork got nowhere close; obv. Huge power dynamics there like a vocal lead genre trend with dancing as a feature/theme vs a instrumental lead sub-genre but w/e).Now its 2016. Chicago itself made at least two different sub-movements in music over on the rap side that attracted a whole bunch of kids away from juke, because how abstract is 'mild popularity in europe on the internet, my track has x thousand views on youtube' with 'man my cousin got a hit record on the local radio and his youtube got a million views because it got on Worldstar, and people on IG doing his dance in my neighborhood' and that's a huge swath of people not energizing the scene until it became as relatively small a clan as it's been.I think about this in relation to jungle which like.

There are people who soldiered on, continued, thrived on varying scales. Maybe a good pocket of 150 or so musicians who are always doing something at some point, whether its albums, just releasing stuff, working on tunes. Even including the dancers, a third of that here, and nowhere near the feel of cultural impact. But then again, the US is not the UK so. Ive not listened to much new footwork but relistening to some of it and its quite amazing that a genre made up of so many tracks that sound like a total mess has been adopted so widely (albeit by a minority). A lot of the sampling in footwork is like hip hop in 1986. In fact most of the samples being used are exactly what was being used in 1986.

Footwork producers should also stop sampling their own vocals as they have boring voices. Very boring voices. Im now going to go and try and get through some modern footwork to see what i have missed (or see if i am totally wrong and have got the genre wrong all this time, which could be possible, but the number of tracks that sound like the samples were chosen by a 6 year old is quite high).

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