{"id":161,"date":"2012-09-29T19:31:11","date_gmt":"2012-09-29T19:31:11","guid":{"rendered":"http:\/\/www.flipthescriptbook.com\/blog\/?p=161"},"modified":"2012-09-29T19:31:11","modified_gmt":"2012-09-29T19:31:11","slug":"celebrating-classics-pete-rock-cl-smooth-mecca-the-soul-brother","status":"publish","type":"post","link":"http:\/\/www.flipthescriptbook.com\/blog\/?p=161","title":{"rendered":"Celebrating Classics: Pete Rock & CL Smooth – Mecca & The Soul Brother"},"content":{"rendered":"

In anticipation of the Mecca and the Soul Brother 20th Anniversary UK tour Flip the Script<\/strong> continues the ‘Celebrating Classics’<\/strong> series with a few pictures and video from the duo’s last visit. The duo return to London’s Jazz Cafe on the 28 Oct 2012….<\/p>\n

“I was 14 years old with this drum machine in my room, I had 2 turntables a mixer and a tape deck. Before I got that machine I was making beats with a tape deck. I would over dub and keep pausing and pausing for the parts of the record I liked until I learned how to sample.” Once Pete Rock learned how to use equipment at his disposal he set out to make his mark on the music industry. The production technique was a skill known as ‘filtering’ that made 1992’s album Mecca & the Soul Brother and 1994’s The Main Ingredient so outstanding. Pete Rock pioneered a way of filtering out sound from original recordings so he could make his own beats. It made his sound and especially his blaring horns stand out. ‘Once I got the baseline and bottom beat, everything else comes easily’ The most famous example possibly being “They Reminisce Over You (T.R.O.Y.)<\/a>” (on which he uses a horn sample from Tom Scott<\/a>‘s “Today”), Peter Rock has also used horns on several other productions such as “Straighten It Out”, Public Enemy<\/a>‘s “Shut ‘Em Down”, Rah Digga<\/a>‘s “What They Call Me”, and A.D.O.R.’s “Let It All Hang Out”.<\/p>\n

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Pete Rock & CL Smooth, London UK 2009<\/p><\/div>\n

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(words adapted from dominique the great radio)<\/p>\n\n\t\t\t\t

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