The phrase is a play on the opening of Carl Perkins’ Blue Suede Shoes, as made famous by Elvis:

One for the money, two for the show
Three to get ready, now go, cat, go

For the hip-hop world, the main reference point seems to be Spoonie G’s “Spoonin’ Rap” from 1979. Old school! Spoonie’s line is enigmatic in its meaning.

You say one for the treble, two for the time
Come on y’all, let’s rock the [whistle]

Spoonie’s Rap inspired some other early hip-hop artists. Two years later, Grandmaster Flash opened “The Adventures Of Grandmaster Flash On The Wheels Of Steel” with a scratch of Spoonie G. West Street Mob starts “Break Dance Electric Boogie” with Spoonie too, though they interject a word of their own — “You say a-one for the treble, two for the time, come on y’all, let’s BREAK DANCE” (said in vocoded robot voice.)

Other songs that quote or reference “Spoonie’s Rap:”

• Kurtis Blow – “Under Fire“
• Common – “Food For Funk” (not on Youtube, sadly)
• DJ Khaled ft. Ja Rule, Fat Joe & Jadakiss – “New York Is Back” — combines Spoonie G with Carl Perkins, “One for the treble, two for the show.”

The other big hip-hop reference point is Davy DMX, who uses a different variation of the phrase in his song “One For The Treble.”

One for the treble, two for the bass
Come on Davy D, let’s rock this place

This song, and Spoonie’s, both really signify for Mos Def, who quotes them on at least three of his tracks: “Undeniable,” “Hip Hop” and “Oh No” ft.Pharoahe Monch & Nate Dogg.

A Tribe Called Quest quotes Davy DMX about a minute into their song “Oh My God” featuring Busta Rhymes:

Other people quoting Davy DMX:

• Brand Nubian – “Steal Ya Ho“
• Aceyalone – “Treble And Bass“
• Snoop Dogg – “Can I Get A Flicc Witchu“
• Tech N9ne – “Bout Ta’ Bubble“
• Sergio Mendes ft. Erykah Badu and Will.i.am – “That Heat“

This couldn’t possibly be all the instances of this meme out there. If there are more interesting ones, let me know.

Update: hear a Spotify playlist with most of the songs mentioned here, and in the comments.

The Apache break is an especially interesting sample, because there’s a yawning gap between its lame original context and the diversity of uses that musicians have since put it to. More than most samples, the Apache break has enormously transcended and eclipsed its original context. “Apache” was first written as fake Native American music by Jerry Lordan in the late fifties, inspired by a cowboys-and-Indians movie. How such a lame song became a cornerstone of electronic music is a long and convoluted story. Here are two good tellings: an essay called All Roads Lead To Apache, and a followup New York Times article.

Here’s the story of “Apache” in network diagram form:

“Apache” has been sampled uncountably many times. The first noteworthy example is “The Adventures of Grandmaster Flash on the Wheels of Steel.”

In a similar vein, check out Double Dee & Steinski’s “Lesson” mixes. They’re must-hears if you care about the art of the mashup.

In keeping with the old-skool flavor, here’s West Street Mob’s “Break Dance Electric Boogie,” which uses some of the horn parts from the Incredible Bongo Band recording in addition to the percussion break. Got to love those vocoded robo-vocals.

The first song to sample Apache that landed on my consciousness was probably “Things That Make You Go Hmmm…” by C+C Music Factory:

Drum n bass producers love the Apache break. Instead of just looping the sample, they like to slice and dice it into new, more complex beats. Goldie’s “Inner City Life” is a high-profile example. I admire the drum n bass guys conceptually, but when it comes to day-to-day listening I’ll take hip-hop every time. Nas uses the Apache break on “Made You Look” — I think he even paid for it.

I have some friends who like hip-hop as music but are uncomfortable with the practice of sampling. They have this idea that sampling is a form of stealing. These friends tend to rally around the Roots, who play hip-hop on live instruments. The thing is, even though the Roots’ Questlove is one of the best drummers in the world, he also programs and uses samples in his production work. Hear Roots MC Black Thought do one of his hottest rhymes over Apache on “Thought@Work”:

When the Roots play this live, Quest and the percussionist re-create the break in the manner of The Sugarhill Gang’s “Apache Rap.” Missy Elliot sampled the Sugarhill Gang remake in “We Run This.”

Electronic music undermines the western concept of the composer. For any track based on the Apache break, who composed it? Jerry Lordan wrote the song but you’d never guess a connection between his original recording and anything that samples the Incredible Bongo Band. Should the composer credit go to the Incredible Bongo Band? Or just their rhythm section? Should it go to Kool Herc or whichever DJ first had the idea to loop the break by itself, or the producer who did the sampling? What’s the connection between Jerry Lordan’s song, the Bongo Band version, the Sugarhill Gang’s recreation of it and Missy Elliot’s song sampling the Sugarhill Gang? To me, the question becomes meaningless. Music emerges out of collective cultural practice more than any single person’s mind.

Asking what the origin is of a given piece of music is like asking what the origin is of my blue eyes. The gene/musical meme analogy is a useful one. James Brown’s “Funky Drummer” has dominant hip-hop genes. The roots of hip-hop are obvious in this song, since JB is literally rapping over a funk beat. It’s like the way my mom has blue eyes — there’s no big mystery where that gene came from in me. My dad had brown eyes, though; the blue-eyed gene was recessive in him. The hip-hop gene is recessive in the Bongo Band’s “Apache”, and more recessive still in Jerry Lordan’s original.

Hit me in the comments for noteworthy Apache mixes. I’m working on a mix of my own, I’ll post it when it’s done.

Here I’m going to collect some breakdance media and see if any thoughts emerge. Your suggestions welcome.

Beat Street

Grandmaster Flash spins in Wild Style

Breakin’ 2: Electric Boogaloo broom dance

Here’s a fan video someone did, Michael Jackson breakdancing in slo-mo to Nite Lite by Yo Gotti.

Anything else I should see?

DJ Kool Herc was one of the first DJs to remix tracks on the fly using turntables and a mixer. Rather than playing songs from beginning to end, Herc isolated and repeated the hooks and breaks. The break in a dance song is the section where all of the instruments drop out except the drums, percussion and maybe the bass. In disco and funk songs, the break is the energetic peak moment, when the dancers really get down. Herc discovered that by isolating and looping, say, the break from “Apache” by the Incredible Bongo Band, he could bring the dance floor to ecstatic new heights.

To loop a break, you need two copies of the same record, one on each turntable. While the break plays from the left turntable, you cue up the beginning of it on the right one. At the end of the break, you quickly crossfade to the right turntable. While the break plays from there, you cue up the first copy to the beginning of the break on the left turntable. In theory, you could loop a break like that indefinitely.

Along with Herc, the first generation of hip-hop DJs also included Afrika Bambaataa and Grandmaster Flash, whose dense vinyl collages prefigured the mashup movement. Hear the prehistory of the mashup in “The Adventures Of Grandmaster Flash On The Wheels Of Steel.”

It’s relatively easy to put a collage like this together on the computer, but it takes delicate timing and tons of practice to do it using vinyl.

Turntablism broke into mass consciousness when Grand Mixer DST appeared with Herbie Hancock on “Rockit” in 1983. The first turntablist I had a relationship with was Jam Master Jay, from his work with Run-DMC in tracks like “Peter Piper.” More recently I got hip to DJ Premier, who produced my favorite Nas track, “Nas Is Like.” Hear Primo on Gang Starr’s “DJ Premier in Deep Concentration.”

As jazz gave birth to technical and esoteric styles like bebop, so turntablism has its own highbrow virtuosos. DJ Rob Swift is a leadng member of the artsier school of turntablism. He’s more of an abstract improviser than a sequencer of recognizable hooks and grooves. Hear Rob Swift scratching a series of records, starting with the Funky Drummer bonus beat reprise.

Here, Rob Swift demonstrates a turntablist notation system (thanks Nick Seaver):

See more scratch notation, courtesy of Wayne Marshall.

Speaking of the Funky Drummer, see an amazing freestyle by Mos Def, Black Thought and Eminem over a DJ scratching the Bonus Beat reprise.

DJs have done most of their collaboration with emcees and electronica producers. They’ve been slower to work with traditional instrumentalists — there’s a lot of new musical vocabulary that has to be learned on both sides. It’s beginning to happen, though. In my hippie-ish youth I enjoyed going to see DJ Logic scratching it up with jam bands. And Youtube loves this video of a violinist getting down over a few different records, including the instrumental of “Check The Rhime” by A Tribe Called Quest.

Vinyl and the gear to play it are heavy, bulky and expensive. If I ever start DJing seriously, I’ll probably opt for vinyl emulation software. It doesn’t necessarily have the same touch as vinyl, but it would be pretty awesome to be able to scratch anything in my iTunes library.

Using a turntable, you can simulate unearthly speech sounds by rapidly scratching the record to and fro. The circle becomes complete when beatboxers emulate the sound of DJ scratching with their mouths. Enjoy Rahzel beatboxing a set of Wu-Tang songs.

Any more videos, links or other turntable-related goodness I’m missing? Hit me up in the comments.

Update: great blog post on classical musicians’ experiments with turntablism pre-1950.

Glenn Gould wasn’t necessarily being prophetic. He was just paying attention to the long history of music before the relative eyeblink of the twentieth century. The always perspicacious Wayne Marshall says:

Only in the relatively recent past — within the last century — have songs, in the “fixed” media form of audio recordings, been so strongly regulated as pieces of property whose use by others might be strictly limited. An examination at the level of cultural practice — that is, how songs as audio recordings have been used by people — demonstrates that even in such “fixed” form, songs have continued to serve as a commonplace site of sharing and creative interaction (also known as remixing). This becomes particularly evident in the use of playback technologies such as turntables as creative instruments in their own right (aiding the emergence of hip-hop and disco in the 1970s), an approach powerfully extended by the tools of the digital age.

I’m a child of the cassette era. I loved making mix tapes in high school, for myself and whoever among my friends would listen. It was a pain, but still worth it. I still remember burning my first CD, sequencing the tracks with Toast before the half-hour long burn session during which the computer couldn’t do anything else. I’ve said farewell to albums with little sadness. It’s nice to listen to Graceland or Abbey Road in their original sequence, but for the most part, I do a better job of sequencing tracks for my own needs than anyone else can.

What’s true at the multiple-song level is even more true within a single song. Writing a song is really sequencing together a “mixtape” of licks, scale fragments, chord progressions and beats. When I learned how to play the guitar, I became free to string together whatever song fragments I could get under my fingers. It was fun being able to freely collage songs together, constructing segues and suites. All “new” compositions are really mashups you make in your head. Any creative undertaking is less like conjuring out of thin air and more like making a salad. As a sampler and remixer, my freedom of musical choice is total. Making mashups is a delightful blend of writing songs and putting together mixtapes, except that the pieces of music are shorter and layered simultaneously.

Mashup and remix culture isn’t new. Club DJs have been mashing up songs on the fly for decades, intermixing hot dance tracks with hooks and breaks from other well-known dance tracks. Girl Talk has nothing on “The Adventures Of Grandmaster Flash On The Wheels Of Steel” or Double Dee and Steinski’s “Lesson” mixes. Creating popular music is a ruthless evolutionary process. You sort through idea after idea, looking for the hooks. The best mashups take the Darwinian process to the next level, mating the hooks together into ultrahooks. My favorite mashups of the moment are the United State Of Pop mixes by DJ Earworm. He takes the top twenty-five singles from a given year and boils them down into single, devastating tracks.

United State Of Pop 2007

United State Of Pop 2008

There are plenty of other high-concept mashups like these, and some of them work as music, but a lot of them are gimmicky and annoying. In order to work, there has to be some musical resonance between the source tracks. The more unexpected the affinity, the better. My favorite Earworm mashup combines Django Reinhardt’s performance of “Brazil” with Paul Simon’s “Diamonds On The Soles Of Her Shoes.”

Brazilian Diamonds

Who would have guessed that the bouncy rhythms of South African pop as filtered through the mind of a Jewish folksinger from Queens would mesh so well with the bouncy rhythms of samba as filtered through the mind of a Belgian gypsy jazz guitarist? This kind of discovery is only possible via a lot of trial and error. The growing ease and plummeting price of audio editing makes trial and error a lot less onerous than it used to be.

One of the great pleasures of sample-based music is encountering something familiar in a strange context. Sometimes the recontextualization can be jokey, like Ludacris’ ironically grandiose “Coming 2 America” which combines quotes from the Eddie Murphy movie with themes from both Mozartâ’s Requiem and the last movement of Dvorak’s New World symphony. Sometimes it’s playful without being jokey. Mozart’s “Queen of the Night” aria from his opera The Magic Flute shows up in “Like You” by Kelis, and it makes me wonder why every R&B song doesn’t include coloratura soprano.

The mixtape-mashup analogy isn’t perfect. Mixtapes are linear, with each song usually appearing once. If you make a mashup in this linear way, with each sample appearing only once, it will probably be annoying. Within the parameters of a song, repetition is crucial to enjoyment. This is why Girl Talk gets on my nerves. He runs a sample four or eight times and then forgets about it. His tracks are too much like watching someone else flip channels on TV for my tastes.

I’m especially interested in musicians who use samples of themselves as the basis of new works. The first Nas song I heard was his biggest hit, “Nas Is Like.” The chorus is based on samples of his earlier song “It Ain’t Hard To Tell.” When I heard the original, it sounded like it’s full of samples of “Nas Is Like.” This confusion of time sequence is one of the central pleasures of sample-based music for me. The meta-recursive hip-hop prize probably belongs to the Fugees, whose song “The Score” includes samples of every other song on the album of the same name.

The mashup doesn’t belong exclusively to music. The video mashup is coming excitingly into its own. I would have expected that combining two songs in 5/4 time might be too clever, but in this case it works:

The video mashup’s answer to DJ Earworm is Kutiman, who stitches together multiple Youtube videos. Check out “The Mother Of All Funk Chords”:

Jonathan Lethem’s essay on literary mashup culture, “The Ecstasy Of Influence,” is itself an amazing literary mashup. There are visual mashups too, I have a collection of them on Flickr. An intriguing random visual mashup maker is the Ad Generator. Its makers explain: “Words and semantic structures from real corporate slogans are remixed and randomized to generate invented slogans. These slogans are then paired with related images from Flickr, thereby generating fake advertisements on the fly.” It works uncannily well.

The fan-made advertising mashup shows the potential to become an entire new artistic style unto itself. Dig this trailer for an as-yet nonexistent Green Lantern movie made entirely out of pieces of other movie trailers:

Sasha Frere-Jones says in his essay 1 + 1 + 1 = 1:

See mashups as piracy if you insist, but it is more useful, viewing them through the lens of the market, to see them as an expression of consumer dissatisfaction. Armed with free time and the right software, people are rifling through the lesser songs of pop music and, in frustration, choosing to make some of them as good as the great ones.

This very blog post is a mashup of Glenn Gould and Wayne Marshall and DJ Earworm and Grandmaster Flash and Kutiman and uncountable others. I know there are plenty of copyright holders out there that regard any kind of derivative work as stealing. I think it’s a misplaced form of anxiety. I think mashups are natural, healthy, and the best vector to get your ideas circulating through the memepool long after you’re gone. As I was writing this post, I discovered someone did a version of my Michael Jackson sample map with Michael Jackson on it, and I couldn’t be more flattered.

Long live DJ culture, across whatever media!