Fast-forward a couple of years and a friend introduces me to Jazzie B and the rest of the Soul II Soul crew. “I would go hang out at their sessions, do cuts for them on their tracks or help them with beats. “I had other friends who were MCs who were trying to make records and doing studio sessions,” he says. His time spent in the ‘80s working in London’s developing hip-hop scene would lead him to a meeting that would change his life. It was this curiosity and penchant for experimentation that formed the foundation for Dobie’s later work as a producer.
#THE SOUND OF ONE HAND CLAPPING HOW TO#
Paul had a Roland TR-606 drum machine, not sure how well he knew how to use it.” “I just said to myself, ‘I want to learn how to do that, DJing hip-hop style.’ I had a friend named Paul Sunmon who showed me what a drum machine was. Seeing The Supreme Team in Buffalo Gals video and hearing scratching on early hip-hop records and the few mixtapes that were floating around from the U.S., the sound just had my ear,” he says. “I was drawn to the DJing side of things the most. Like many kids, Dobie began to actively practice the art form, getting his start as a DJ. In those early days, as hip-hop 12”s, films, and mixtapes continued to transmit signals direct from New York, the mecca of hip-hop culture, British youth rushed to pick up turntables, microphones, aerosol cans, and flattened cardboard boxes to experiment with, and build upon, this new cultural movement that was growing rapidly. We have a large Caribbean community here, so it was easy to get our heads around hip-hop,” Dobie says. You were seeing the breakdancing, the graffiti, DJing, MCing, and the style and swagger of hip-hop just appealed to us over here and was based in soundsystem culture.
#THE SOUND OF ONE HAND CLAPPING SKIN#
It pretty much got under the skin of most young kids at the time, no matter what race. back in the later ‘70s-‘80s, it was like a cultural bomb going off. When the music and the culture hit the U.K. The thing that got me into making music was hip-hop. Describing those creatively rich days, Dobie explains, “I’m of Jamaican descent. The son of Jamaican expatriates, Dobie grew up in the Stoke Newington section of Northeast London.
Given rap’s practice of repurposing the whole history of recorded music through technological experimentation, black Britain’s musical blueprint was forever altered, splintering off into a number of self-contained scenes and microgenres.īritish producer and DJ Dobie was born in the midst of this cultural moment. By the time hip-hop made its way across the pond, a rich reggae/soundsystem culture had taken firm root in the U.K. Pushing through the daily indignities of racism/anti-blackness and the general struggle of immigrant life, black Britain’s jazz, reggae, ska, and soul music thrived creatively, enriching and deepening English cultural life.
Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackĭespite this apparent progress, not much had changed when it came to white British attitudes toward its growing black population.
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