RE-UP
PE really broke new ground on this single with Rebel Without A Pause, recorded after Yo! Bum Rush The Show. The most notable part of the song was Hank Shocklee's sample of the trumpet glissando from The J.B.'s The Grunt and is easily one of the most memorable sounds on the planet. A quote from an interview with Shocklee reveals some interesting tidbits behind the making of the track: "’Rebel’ is interesting because that was originally done with the only sampler that I had at the time which was the Mirage. And the Mirage, if you know the Mirage, it’s a 4-bit sampler that gives you three seconds of sample time and that’s it. And it was [as if] the stars lined it up for me. I was doing this thing again, and I was trying to catch it and I caught the right piece of it in three seconds. Because one thing about the Mirage is when you have three seconds, and you know you only got three seconds, and your piece is really three and a half seconds long, but you really want to catch the best three seconds out of that, well, you got to keep doing it until you catch it right the way you want it". Another very interesting fact is the drums. At first listen it seems like just the Funky Drummer chopped up a little with another programmed beat for the chorus. "That record has four different beats, one is the change beat, one is the original verse beat, the other is the short verse beat, and the fourth being the ride on the beat. And it has ten different turnarounds, all those little kicks, all that stuff is programmed, you know, each one does not repeat itself. So it gives you the illusion of the record is constantly getting better as opposed to it just staying linear". Also noteworthy is Terminator X's rock 'n' roll scratch (yes that's really him this time). "When he first did that piece, you know, the Rock 'n' Roll part, when Chuck said: ”Terminator X“ I was expecting, something (shows something huge with his arms). And then he came in and he would - (makes very small moves with his hands) and then he came up with ’tchgtchgtch’ – I was disappointed when I first heard it. You know, I took it home and I listened to it. And then I said: ”There is something in here that I like but there is something that I didn’t like about it.“ And so, when I went back to the studio, I had the engineer pull off the bottom on it because there was a lot more bass in it. And it just sounded muddy to me. Once Steve pulled the bottom of the whole shit popped out like crazy and it was my favorite piece in life. And even to the point when he took the ’Pee Wee Herman’ ’Get-a-get-a-get’ (scratches in the air) to give it a extra like (waves with his arms) – oh shit – I thought that that was probably the most brilliant piece of scratch work on a record to me ever".
Quotes from the Red Bull Music Academy interview with Hank Shocklee
A1 - You're Gonna Get Yours (Vocal)
A2 - You're Gonna Get Yours (Dub/Terminator X Getaway Version)
A3 - Miuzi Weighs A Ton (Vocal Mix)
B1 - Rebel Without A Pause (Vocal Mix)
B2 - Rebel Without A Pause (Instrumental)
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I sought after this for a long time. It's not a typical record that people who know me might think I would go for but I like it a lot. It was on the first tape of US import 12"s I ever got my hands on so that's probably why. The vocoder is the thing I loved about it and it still sounds great to me but I dare say if I'd heard it today for the first time I wouldn't be fussed so you might not be but I'll give it a shot. Just two tracks on here, long and short versions and whatever you're up to later on, have a happy new year.
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