Comments on: Rodriguez Jr., Kids of Hula

By: harpomarx42

harpomarx42 — Mon, 14 Sep 2009 17:17:47 +0000

@Getropic: Long story short, a fan called out Shlomi Aber’s track “Efrat” as being stolen from Aril Brikha’s “Groove La Chord”.

http://www.youtube.com/watch?v=uc0iik_n48A
http://www.youtube.com/watch?v=WJEDP2p3hQs

By: Getropic

Getropic — Mon, 14 Sep 2009 08:46:00 +0000

What’s that about Shlomi Aber then? Such a good gossip thread…

By: littlewhiteearbuds

littlewhiteearbuds — Mon, 14 Sep 2009 02:47:07 +0000

I forgot all about that, but that’s actually one of the better cases of a producer confronting copycats. Here’s another:

Rozzo finds out “Muskatnuss” by Butch samples “Mountain003,” let’s it go after some choice words (in German).
fuseaction=blog.view&friendId=102917066&blogId=496300557

By: harpomarx42

harpomarx42 — Sun, 13 Sep 2009 23:13:17 +0000

Surprised the topic of Shlomi Aber hasn’t been breached. Or is all that just old hat now?

By: jim

jim — Fri, 11 Sep 2009 10:18:44 +0000

Check out and compare Mr Fingers – Stars (1987), Red Planet – Stardancer (1993), and Richard Brown – Flange-o-matic (1994)….

By: peder

peder — Thu, 10 Sep 2009 17:09:36 +0000

a similar thing happened with patrick chardronnet’s “eve by day” and oxia’s “domino” a couple of years back. connaisseur emailed kompakt pointing out the similarities between the two tracks, and wolfgang voigt did the honourable thing by personally apologising, stating that he hadn’t previously heard “eve by day”. understandable, but in this case it seems unbelievably unlikely that neither label heads nor producer have heard “seeing through shadows” given both its ubiquity and the proximity of the two labels (mobilee and m_nus)…

By: Getropic

Getropic — Thu, 10 Sep 2009 10:24:17 +0000

Check Italoboyz- Frosted on Safari Electronique and Glimpse- 100% Shiraz on Glimpse 80% black. They both used the same preset chords + hooks and were released the same month in 2006!

By: littlewhiteearbuds

littlewhiteearbuds — Wed, 09 Sep 2009 21:13:50 +0000

The only recent-ish occasion I can recall wherein a producer has wholesale appropriated another track and not made a hash of it is the Mountain People records. Based on “Break Night” by The Mole People, they managed to modify the ascending riff just enough to give it a fresh feel. However, they’ve since moved on to different patterns, which I find essential to running a sustainable label.

By: m@earth

m@earth — Wed, 09 Sep 2009 18:33:23 +0000

Meh. Rich territory this artists taking or mining riffs and ideas from other artists. Ken Ishii and Carl Craig while remixing Dave Angel have had a similar run in. Listen to the C2 mix of “Take Off” and dust off your copy of Utu and play “Hall of Mirrors”. Actually. Just put that Utu in your crate and wail it sometime. Thing bangs. They both have a remarkably similar progression.
Beltrams Energy Flash from way back turned up as Tone Exploitation by The Nighttripper. Some people wonder about who’s copying who with Red Planet and Escape (fax records) who both released tracks within mere months of each other using the same sample material.

By: Sam

Sam — Wed, 09 Sep 2009 00:46:56 +0000

@ James – While I agree that there does seem to be an unwritten “rule” when it comes to sampling, i.e. “Inter-genre cannibalization”, my example of Sueno was in response to previous posts (and the review) having issue with ‘bitting’ entire sections of another composition (which Sueno does). Further (and not to split hairs, but…), E2-E4 was a Balearic staple (and not that old) when Sueno appropriated it and aimed it right back at the same Balearic audience that had probably “raved” to the original. From there it blew up and went pop. My take on appropriation (sampling, remixing, mash-ups) has always been that the ends justify the means. If a track is good then i don’t really care if it’s been ripped off and repackaged – I’m still gonna’ like it (sacrilege, I know…) – this is what the reviewer alluded to in his text (“clubbers tend to reward even shabbier, trend-riding producers with their presence on the dance floor”). I personally think (to some degree anyway) that this is what makes dance music\culture interesting – the lack of the “rock-ist” (for lack of a better word) infatuation with “craft” and “authenticity”. Last & not least, I gotta’ say that there are plenty of very valid (and now classic) examples of “inter-genre cannibalization” – this just doesn’t seem to be one of them (although as I said before – i still kinda’ like the track – sorry!).