Ghetto Technics 7. Ghetto Technics 8. High IQ. In the Socket. Park Rave Madness. Techno Culture. Techno Generation. Primary Artist, Frankie Bones Presents Bonesbreaks Volume 2 Raw Beats For DJs, Composer. Ultra Techno, Vol. Young Guns: Dance Compilation. Producer, Performer, Primary Artist. Best Freestyle Album in the Universe, Vol.
Techno Mix, Vol. Escape from Brooklyn. Freestyle's Greatest Divas, Vol. Global House Culture, Vol. Global House Culture. Lemon Live from Your Mutha's House. Armand Van Helden. Lovelee Dae. One World Electronica: Electronica's Best. Our Little Secret. Rockaway Shuttle EP. Rubber Doll. Synchronicity, Vol. United Frankie Bones Presents Bonesbreaks Volume 2 Raw Beats For DJs of America, Vol.
Roger Sanchez. Steve Reich Live Electric Music Broadcast Network. Primary Artist, Producer, Mixing. Cutting's Ultimate Freestyle Medleys, Vol. DJ Techno Mix, Vol. Direct Drive Compilation. Compilation Producer. My Peak. Studio DJ. Diary of a Raving Lunatic. Future Techno. Mix Project, Vol. The Best of All the Looney Tunes. Looney Tunes.
Producer, Compilation Producer, Composer. Trance Atlantic, Vol. Classic Freestyle. Cutting Dance Express, Vol. Mayday, Vol. Producer, Mixing, Remixing, Reproduction, Composer.
Tracks from the Fourth Floor. The Future Is Ours. Locked Up. Criminal Element Orchestra. Luke Solomon. Bonesbreaks, Vol. Celebrating Ten Years of Breaks. Club Club Tunes 3. Dance Hits of the Year. Electro Frankie Bones Presents Bonesbreaks Volume 2 Raw Beats For DJs Tracks.
Electro House Electro House Clubbing [ 2]. Energy: Dj's in the House. Hot House Sessions, Vol. LF RMX Mururoa Test, Vol. Composer, Primary Artist. Scene Starter. Primary Woody McBride Bad Acid No Such Thing, Composer, Producer, Vocals. And when did the turntables take over the spray cans? The turntables never really overtook the spray cans or the breakdancing. I do come from Terry Riley Patrick Gleeson Crossroads roller disco era; I was an excellent roller disco skater.
But I think everything played a part together, like breakdancing and the culture of graffiti and the music. There was all this edited stuff that you never heard before, so it was a wonderful time.
And that concept is what really fueled me as a DJ. It was like taking the great moments from one weekend and making it into the new moments for next weekend. I went running with that when I first started making Bonesbreaks. We had no problem sampling anybody. Those Bonesbreaks seem to be kind of like house records for breakdancers.
Yeah, Bonesbreaks started off as just a bunch of loops from the hip hop era. It was just everything; we threw it in a pot and started to stir it around. It was freestyle, it was house, it was breaks, it was hip hop. So, for another DJ to see that another DJ did something close to them? It worked out really well. We sold lots of those. How did you actually go on to produce those records? Was it like doing those edits live and recording to tape?
Or were you using samplers? The way I got into recording and producing and writing, I met Omar Santana at an early age when he was just coming out doing the record labels. And I was a DJ who wanted to get records, so I would hang out with Omar and we would go to record labels and try to hustle Sonic Youth EVOL for promotional copies.
We were still young; we were year-old kids. But he was starting to get work editing and he wound up making a career out of it at an early age. They were paying him good money to do re-edits of their finished product.
But when we got in the studio, you have to do something So we got a girl to sing it. Her name was Suzy Swanactually. And we produced our first record. The drum machine really just signed it off for us, because it is just a bunch of yellow and orange buttons — you press them and things happen. It was probably one of the most amazing things in my life.
And that very first record, which label was it on? Fourth Floor had just started when I got involved with them. We had distribution. We had the pressing plant. I was just a guy that worked in the record pressing plant at the Frankie Bones Presents Bonesbreaks Volume 2 Raw Beats For DJs.
And one day I heard this track coming out of an office upstairs. I was 18 years old. So I walked up there and asked him what it was. It was Todd Terryand they wound Seafoam 3323 Sessions EP selling 6, copies of that.
It Frankie Bones Presents Bonesbreaks Volume 2 Raw Beats For DJs really cool, actually. And the thing is, we started selling. The first Bonesbreaks sold maybe ten thousand, but when I got to the second Bonesbreaks, we were putting records dip in the pool dip the car every day, thousands of records. I think we sold 22, units on that, which was at that time, for a record like that, an amazing achievement.
They did breakbeat records, ultimate BadBadNotGood Cant Leave The Night Sustain, but those were old rock songs. We were making mashups, mashing whatever it is together, throwing it on something and selling it.
And it worked. When I met Tommy Mustowe were kind of like neighborhood rivals. I got thrown out of the DJ booth. I was trying to bring him a record that Omar produced by a Frankie Bones Presents Bonesbreaks Volume 2 Raw Beats For DJs artist named Sa-Fire. The timing was the most amazing thing about it. Best Sellers. Rolling Stones. See the full list Bonesbreaks Volumes 1 - 4. Language All tracks are sung in English, unless otherwise stated in our description.
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