Actually “Theme from S’Express” was the sample of the samples! In Aprile 1988 S’Express reached number one in UK charts, and in many other countries. Actually speakers did not know how to call it: a hit, a song, an exercise, some minutes of sampling, or what. It simply was something new. Technology made available new effects and new tools. DJs and sound engineers became as important as singers and authors, at least on the house, techno and acid scene. Pop groups left space to projects, and we saw the beginning of a new mono-use kind of fruition. Which is a wrong term, by the way, if we are still talking about it after 30 years. We already anticipated it: since 1986, the success of early experiments like Sigue-Sigue-Sputnik<\/a>, “Pump up the volume<\/a>“, and later “Beat dis<\/a>” or “Doctorin’ the House<\/a>” made it clear that market was ready. Maybe this was the signal that the 80s were coming to the end. Slowly, but clearly. A new kind of music, built differently, with different tools. No longer designed for walkmans or teens bedroom hi-fi’s, but for radios and clubs. No longer shows in stadiums and arenas, but rave parties on the beach \ud83d\ude42<\/p>\n By the way, did you recognize the sample of Blondie’s Debbie Harry’s voice? \ud83d\ude42<\/p>\n #quotefromthe80s [niceyoutubelite id=”CustomField”] Views: 267<\/p>\n
\nI got the hots for you
\nBoop bep-bep, boop boop-boop, ah ah
\nDrop that ghetto blaster
\nS'Express S'Express
\n#SExpress #ThemeFromSExpress<\/p>\n<\/blockquote>\n
\nS’Express<\/a> on Wikipedia<\/p>\n