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Grime and DnB: what's with all the rewinds?

Yeah there's some banging dubstep around, unfortunately everyone just assumes its going to be like skrillex and over looks it.

And I quite like that middy tearout dubstep, and I realise there's a difference.
 
ska invita said:
i wouldnt judge amateur night on what a good dubstep night can be like....dont rule it out if you havent checked out digital mystiks or other deep medi related acts in session
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I also helped load in for the first deep medi night in the UK in Manchester 2009! ;)
 
And at the annoying night in Brighton there was Inspector Dubplate, Borgore, Chef, etc... all a load of rubbish (for the most part) I think Chef played one dubby dubstep tune....
 
"Is it time for a rewind?" checklist:

1. Not done one for a while.
2. Amazing tune.
3. Pretty much everyone in the crowd is jumping up and down, screaming, waving, and/or banging the walls.

I think it's also fair play if you have a particularly bonkers dubplate. I'm not a big fan of either Wyclef from the Fugees or Tom Jones. But Wyclef has a Tom Jones dubplate, with the man belting out his greatest hits and bigging up Wyclef over a reggae riddim. You're not going to hear that every night of the week.

Memorable rewinds:

a. John Peel playing The Jesus and Mary Chain's "Sidewalking", Radio 1, late eighties. (first time it had been played anywhere)
b. Fatboy Slim: "Rockerfeller Skank", main room at The End, mid 90s (first time it had been played anywhere).
c. Loefah playing The Bug's "Skeng", JME's birthday/FWD - Plastic People, late noughties (first time it had been played anywhere).
 
Fozzie Bear said:
I think it's also fair play if you have a particularly bonkers dubplate. I'm not a big fan of either Wyclef from the Fugees or Tom Jones. But Wyclef has a Tom Jones dubplate, with the man belting out his greatest hits and bigging up Wyclef over a reggae riddim. .
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need to hear that! the Whitney one was a cracker.
 
"And the one like Darren Jay come and wheel for the man like Kenny Ken".

Always liked rewinds, providing they're not overdone and capture a moment where the crowd is really hyped and a big tune has just been dropped into a mix - those moments where a tune is heard out for the first time. I seem to remember it becoming a bit overkill during d'n'b in the late 90s and since - not sure any tune really needs 3 rewinds in a row tbh :hmm: But done properly, always find it really compliments the vibes (which is probably why a lot of my urbanite mixes have at least one pull :oops: :D).

Not keen on hearing those hyperspeed rewinds from CDJs and traktor though - was listening to an old skool hardcore show on a pirate a few months ago and almost every tune was getting the rewind treatment, and the speed of the rewind just didn't sound right at all. The show just lost any flow.

In reggae soundsystem culture, it's always been a 'forward' (spinning the tune fast in the forward direction) rather than a 'rewind' when a big dubplate is played.
 
stethoscope said:
Not keen on hearing those hyperspeed rewinds from CDJs and traktor though - was listening to an old skool hardcore show on a pirate a few months ago and almost every tune was getting the rewind treatment, and the speed of the rewind just didn't sound right at all. The show just lost any flow.
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i know what you meant about cdj rewinds - they can be done right but often sound 'wrong'. Would need to pissabout to work out what i think is best... one thing that bugs me about a cdj rewind is the track then starts way too quickly.

That said some people who embrace that and do hyperfast rewinds and really quick restarts of the tune as part of a generally hyper style of mixing can make it work...i guess its an aesthetic

*ive got a funny rewind video you'll like - just trying to find it
 
Fozzie Bear said:
Memorable rewinds:

a. John Peel playing The Jesus and Mary Chain's "Sidewalking", Radio 1, late eighties. (first time it had been played anywhere)
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That was brilliant. He played it, admitted it was the first time he'd heard it himself and thought it was brilliant, said he'd love to play it again if he could but playlist rules didn't allow it, got halfway through the next song, took it off and played it again anyway.

It could only have been more perfect if he'd put it on at the wrong speed.
 
I just got interviewed for a piece on the history of rewinds. Will link that up when it's out.

It occurred to me that it all originates in Africa with "call and response" in ceremonial music.
 
I love over enthusiasm and D R A M A in a session so it's really hard IMO/E for someone to fuck up (when/what) a rewind tbh. I fucking LOVE them. :thumbs: In fact, 138 Trek got played at Bangface on Friday and I felt right old as (it appeared) rewinds are a bit of a 90's throwback and not really the done thing in nu trendy era ness. 138 should ALWAYS be rewound. Zinc might as well have cut it in the vinyl (well, he shouldn't ofc, but still...)

Just that feeling AAAAAAAAAAAARRRRRRRRRRRRRRRRRRRRRRRRRRGGGGGGGGGGGGGGGGGGGGGGGGGGGGGGHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH when it's done well/right. :D Worth the entrance fee alone.

And everyone's in the same mindset. I'd almost say the best ones are the most predictable. Like you NEED that second of silence to pause and take it all in and get over the borderline hyperventilating excitement required to keep up :D.

My best/worst was when Gotta Get Thru This was first released. Don't care what you say, nor account for the crimes committed since, but the OOOOOOOG edit of the record had a ridiculous intro of beats that I can only really human beatbox to replicate it as I can't find the edit of it anywhere. Add that to the obscenely universal/obvious-ness of it's appeal and the half dozen (count 'em) times it was spun back at some special do (i.e. with 'proper DJ's) at the (Blue) Orchid in Croydon in the mid-late 90's will never be beaten. That said, Doolally/straight from the heart got similar treatment (only about 4 though) and I hate the record, though still buzz for the people that do.

The shit ones are those dictated by the egoist MC who has an average rhyme that he simply 'must' do over a dubby number and gives the full "wheel up" shout. The MC should mold around the tune, NEVER the other way around. If the MC had such a special lyric the DJ would know about it anyway :mad: Oh, and if it's done at any point of the record other than within 1 bar of the first drop, you've fucked it, mate.

Edit - Just seen we're only talking Grime DnB/ so ignore my soft-as-shite ramblings about Garage. Especially the bit about Daniel Beddingfield.:facepalm:;)
 
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:thumbs:
Ted Striker said:
I love over enthusiasm and D R A M A in a session so it's really hard IMO/E for someone to fuck up (when/what) a rewind tbh.
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agree though sometimes they're done less out of enthusiasm than a lazy attempt to hype without genuinely feeling it
 
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Fozzie Bear said:
"Is it time for a rewind?" checklist:

1. Not done one for a while.
2. Amazing tune.
3. Pretty much everyone in the crowd is jumping up and down, screaming, waving, and/or banging the walls.
4. If you're a grime/dnb/dubstep dj, is it considered "exclu"?
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Ftfy
 
5. If you have to do a checklist, rewinds probably aren't for you ;)

(6. If you're trying to debate rewinds within hours of bigging up Daniel Beddingfield...:p")
 
Fozzie Bear said:
I just got interviewed for a piece on the history of rewinds. Will link that up when it's out.

It occurred to me that it all originates in Africa with "call and response" in ceremonial music.
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here it is!
https://medium.com/cuepoint/wheel-it-up-history-of-the-rewind-21fdcff243d9

"So after forty years of rewinding tunes, one thing is for sure: the rewind is the most democratic musical practice of modern times: it ensures no one, audience or DJ, is above anyone else. It also has a bad rep for being abused, the tool of coked-up MCs disconnected from the crowd. Sort of like politics today. Like I said, democratic." :p
 
are you sure thats right stethoscope?
Definitely people called Forward! for support of a tune, and possibly a rewind, but Ive never seen or heard a tune acutally spun forward - its pretty awkward thing to do for one

wiki if it can be trusted also has this crowd surge 'forward':
Appreciation for dubplates and riddims are shown in the form of 'forwards', a surge of the crowd towards the front of the dance/towards the DJ booth. In particular, a 'deep forward' originates from the back of a dance, where the aficionados (or 'heads') typically stand.
 
Praps @ringo or @Fozzie Bear can shed some light on it. I've seen a few old soundclash vids at the dub-fi-dub section where the tune has been sped up rather frantically (forward) when the crowd has called for the 'forward', so I always assumed that was part of it? Could well be wrong though!
 
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stethoscope said:
Praps @ringo or @Fozzie Bear can shed some light on it. I've seen quite a few old soundclash vids at the dub-fi-dub section where the tune has been sped up rather frantically (forward) when the crowd has called for the 'forward', so I always assumed that was part of it? Could well be wrong though!
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if youve seen it spun forward then thats good enough for me!
 
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