The art of DJ-mixing has climbed to the top of the mythical pyramid in certainscenes. For many people, it's a subliminal art that carries a message of nonstop dancing. Different sources credit different DJs as leaders in the field. The story of how DJs started mixing records for clubs is actually not so much about which DJ deserves the most credit, but about the development of new technology and how it played into the evolution of electronic dance music.
Prior to the introduction of compact discs in the early eighties (circa 1982), everybodylistened to music on turntables and cassette decks. By 1977 the cassette had become half aspopular as vinyl. By the end of the eighties the cassette had surpassed CDs and vinyl in sales,although CDs would take the lead in the early nineties.
The main drawback about cassettes was hiss and stretched tape, but many consumers still saw the cassette as better than vinyl because the stylus that played the record, was also wearing out the record every time it got played.That's because the weight of the tone-arm was so heavy on most turntables. Records easilygot scratched as dust added to pops and skips while trying to enjoy the record. Besides,a cassette could fit a lot more playing time or "extended play."
The cassette revolution had been brewing since the early sixties but really took off inthe seventies when consumers became more aware of sound quality. FM radio began to overtakeAM radio because of better fidelity. The record industry moved away from mono recordingsand concentrated on cleaner production of multi-track stereo recordings. What caused asmall culture of club DJs to hang on to the turntable and vinyl records was a companycalled Technics. While the consumer turntable manufacturers were giving up on making thevinyl record experience as enjoyable as possible, Technics catered to the professionaluser. In 1972 the Technics SL-1200 turntable became the model turntable for the DJ worldof radio stations and mobile DJs.
Technics had introduced the first direct drive turntable, the SP-10, in 1969. This wasimportant because turntable motors were otherwise driven by a belt, which after timebecame worn out, causing records to turn in warped rotation, adding to the machine noise workingagainst the music. The SL-1200 was an improvement on the SP-10. Between 1972 and 1984Technics began to add features suited for the needs of DJs to the SL-1200, whichinevitably evolved into the SL-1200 MK2, the all-time definitive DJ turntable,in which a pair was widely referred to as "Technics 1200s."
Some of these features included pitch control and a light tone-arm so that the stylus didn't grind into the record. Vinyl sounded more dynamic and true to the analog recording on such turntables. The fact that pressing the start button immediately started the turntable at the desired speed,allowed the DJ to have more power over the delivery of music than with common consumer turntables,which had "latency" flaws or a delayed start. While most belt-driven consumer turntables did not naturally spin backward, Technics 1200s spun backward to accommodate the DJ who needed to spin the record forward and backward to hear thecue position through headphones.
The experienced DJ, however, also uses padding under the record called a "slip matt" and holds the record over the spinningturntable and pad until the desired moment. The more savvy DJs put an anti-static plastic pad under the slip matt for even more control. With the record cued up through headphones, the DJ releases the record and it starts playing instantly. Another reason for padding under the record, from a musician's point of view, is that it creates more control for moving the record backward and forward for generating the "scratching" sound effect. For scratch, skip and pop reduction, a DJ trick is to spray cleaning fluid or wood alcohol on the record while playing.
The most creative use radio stations found for pitch control in the mid-seventies was speeding up recordsso they could get to the commercials quicker. AM Top 40 stations tried this approach in an effort to create an accelerated upbeat sound. AM stations had to do something to still seem exciting against an emerging backdrop of better soundingFM stations. But increasing the tempo turned out to not help AM overcome the massivesweep to FM in the late seventies. What AM top 40 did in its final years of influence, however, was popularize disco music.
If anyone deserves credit for starting the disco revolution it was Barry White. He wroteand produced the first disco record ever to hit number one in America, which was "Love'sTheme" in early 1974, recorded by White's instrumental backing band the Love Unlimited Orchestra.It eventually became the theme song to ABC's Wide World of Sports. White also hadhis own hits dating back to 1973 with "I'm Gonna Love You Just A Little More Baby," whichwas a top three pop record and a number one R&B record. It had the elements of early discoas did White's 1974 hits such as "Never Gonna Give Ya Up," "Can't Get Enough of Your Love, Babe"and "You're the First, the Last, My Everything."
White's fast, repetitive, pulsating rhythm sections became the hallmark of the disco sound.His arrangements with lush horn sections also contributed to what shaped the jazzy sound of disco.Some music historians will say disco actually started in France or Australia or that the beatreally came from Latin music, but Barry White was the first to make disco big in America.The infectious sound came out on several 1974 hits such as "Rock the Boat" by Hues Corporationand "Rock Your Baby" by George MacCrae, which were both number one records. "Rock Your Baby" waswritten by Harry Wayne Casey, who went on to sing vocals on several number one hits as KC & The Sunshine Band.
As the popularity of disco began to escalate in 1974, club DJs started trying to come up with their own extended mixes to keep people dancing longer. The average 45 rpm (rounds per minute)record was in the three to four minute range. So club DJs would take two copies of the samerecord and mix them together on separate turntables. This may be why TK Records released an instrumental versionof "Rock Your Baby" on the flipside, as was the case with the more bouncy pop number one of the same timecalled "Rock Me Gently" by Andy Kim. Soon more and more hit records started having instrumentals on the B-sides so that DJs could mix in and out of both records.
The popularity of extended mixes grew quickly. By 1975 record labels started issuing "12 inch"singles, which were the size of regular 33 1/3 rpm albums as opposed to the 7 inch 45 rpm single.Mixes were extended by making longer intros and "break" sections. This was the same year that electronic music was developing with the German band Kraftwerk, who had a 22-minute (album version) song called "Autobahn," that marked the beginning of electronic instruments dominating the production in popular recordings.But the idea of the all-synthesizer/electronic drum band didn't start to become common and popularuntil spearheaded by the hits "Just Can't Get Enough" by Depeche Mode, "Tainted Love" by Soft Cell and "Don't You Want Me" by Human League seven years later.
Disco continued to rise in popularity the rest of the seventies. The Saturday Night Fevermovie and soundtrack in the 1977-1978 period crystalized disco as timeless dance music withbig hits from the Bee Gees such as "Stayin' Alive" and "Night Fever." Donna Summer, the queen of disco, began her string of dance hits in late 1975 with "Love To Love You Baby," a quintessential theme as to what discowas really all about. It was also one of the first long extended mixes with a 16 minute version on a 12" issued byCasablanca Records. Her other big hits included "I Feel Love," "Last Dance," MacArthur Park,""Hot Stuff" and "Bad Girls." The great thing for DJs about "Love To Love You Baby" and "I Feel Love"was that the emphasis was clearly more on the dance beats than the lyrical storyline or structure.This meant the DJ had more freedom to mix in or out of the song since the dancer wasn't hangingon to hear a lyrical story.
By 1979 it looked as though disco had commercially conquered everything else in music with hits like"YMCA" by the Village People, "I Will Survive" by Gloria Gaynor, "We Are Family" by Sister Sledgeand "Do You Think I'm Sexy" by Rod Stewart. Disco hit its peak in popularity in 1979 as Chic opened the year with the number one hit "Le Freak" and hit the top again that summer with "Good Times." The flipside was an instrumental of "Good Times." A group called Sugarhill Gang took that flipside and used it for the basis of the first rap hit "Rapper's Delight," which hit the top 40 at the end of 1979. There had been earlier less known rap by R&B artists such as Curtis Blow, but "Rapper's Delight" became the dance floor anthem and prototype for future dance/rap hits. In the summer of 1981 "Double Dutch Bus" by Frankie Smith was another huge early rap record on the pop charts.
The whole concept of disco was based on repeating rhythms - usually with quarter note drum beats, meaning every beat of the 1-2-3-4 pattern was accented,creating a hyper pulsating effect. Up until that time most drum tracks on hit records were either pulled way back in the mix or concentrated onaccenting every other beat, especially in rock and roll. Eventually disco transformed into what was called "crossover dance music," which fused thedisco sound with the syncopated rhythms of r&b. It became a complex mix of quarter note accents laid over completely different rhythms that usuallyincluded louder accents on the second and fourth beats and sometimes 6/8 rhythms laid over 4/4 foundations.
The star of the disco record, unlike the rock star, was not so much the singer as it was the dancer on the dance floor. The dancer's most intimateconnection with the disco record was that familiar pulsating sound of the drums, that was becoming more and more the driving force of pop musicfrom the mid-seventies on. In the late seventies live drummers with huge drum kits were no longer necessary to make dance recordings as the electronic drummachine came of age. The first drum machine, the Rhythmicon, actually dated back to the early 1930s. It produced 16 different rhythms. The firstcommercialization of this concept began with organs that integrated drum machines in the late sixties. In the early seventies the Rhythm Ace, featuringpreset rhythms, came on the scene as an early introduction to the company that became Roland. In 1978 Roland issued the CR-78, which was the firstprogrammable drum machine, that allowed the user to create their own drum patterns. Drum machines began to be heard more and more on hit recordsin the early eighties.
Mixing disco records in clubs to create a continuous dance beat was well in effect in the late seventies,appearing as early as 1974 and coming into mainstream consciousness around 1978 with the popularity of Saturday Night Fever. The movie brought back earlier disco hits such as "Disco Inferno" by the Trammps, "You Should Be Dancing" by the Bee Gees and "Boogie Shoes" by KC & The Sunshine Band. The soundtrack went on to become the biggest selling album of all time until Michael Jackson's Thriller in 1983.
But disco suffered an incredible backlash by the summer of 1979 due to the fact that it had taken over AM radio and that it was being "overplayed" everywhere. Clubs, dance halls, roller rinks and other dance venues started breaking away from disco and the hits and started creating their own universe of music. As record labels began phasing out the 7" on the commercial level by the end of the eighties, they continued to issue 12" singles as the primary medium for DJs. By this point hit songs had multiple dance mixes that the club DJ could choose from.
The beat of popular music, which had gotten up to 160 bpm (beats per minute) and higher in the disco era, sloweddown in the early eighties as 90-120 bpm dance records became more common. As disco began to disappear fromthe charts, DJs turned to R&B music and the emerging sound of electronic music. Rock music never seemed to fitinto the club mix because the emphasis was more on guitar and melody in rock than a consistent pulsating rhythm.It's interesting that the concept of mixing music creatively really started with the freeform radio rock DJs of the late sixties. Back then the idea was to create a seamless sonic continuum in which the overallmix told a thematic storyline in the lyrics, or the mix was interesting from segue to segue simply becausethe music blended well. But back then the consideration for blending sounds had more to do with lyrics, musical key, notesand guitar chords than with drum beats.