How We Made Beat Dis by Bomb the Bass | Music
Tim Simonon, Producer
I was working as a waiter in a Japanese restaurant and studying sound engineering at Royal Holloway in London in the afternoon. I got into the strapping tape and got fascinated with cutting things up and putting the samples in a different order. I was 18 and totally naive. The royalties never crossed my mind. Sugar Hill Chronicles – Where We Got “everyone on the street” – they were very Angry and we ended up paying them a lot to use the sample because it was the song’s hook. If you want to create Beat Dis now, you’ll need a good legal team to track down the rights holders of all the 60’s and 70’s records we sampled.
When the path was completed I needed a name for the project. The concept was about bombing the bass line with different samples, so it made sense to call it Bomb the Bass. The term bombing was graffiti: blowing up a wall or a train.
I took a picture of a smiling face from Alan Moore’s sleeve guard and Transformed into this symbol of the acid house Who kicked me out because it was never my intention. I always struggled when people said, “You sour house.” Bomb the Bass was a lot of different things thrown together at once – there doesn’t seem to be a name for that.
I used to play DJ every weekend at the Wag Club on Wardoor Street in Soho. This helped me explode Top of the popsAnd suddenly we had to put on this charade that we were a band. The men dancing were Wag buddies and the girl “singing” is Adele Nozedar, who made our Rhythm King’s press label. She was in the band Indians in Moscow.
The reaction we got from the clubs was amazing, but oddly enough, he almost got first. Dropped in time – people were interested in funky tunes and house music. Beat Dis had items of both types and it looked completely different.
Our buggies were a complete disaster because the technology at the time allowed nothing more than to run and I was never satisfied with the end result. It was my next production project Buffalo stand with ninh cherry And I realized that’s what I wanted to do: stay in the studios and work with the people I wanted to work with. Fame was not for me.
Pascal Gabriel, Producer
Rhythm King wanted a mix of their 12″ versions and got me to work with a hip hop DJ named Tim, who knew their catalog well. Tim and I quickly realized there wasn’t enough material, so instead he said he’d bring some records so we could complete them. Hip Hop DJs will have a lot of weird recordings – spoken words, and things like that. I’d hear a sample I wanted and say, “That part! That kettle.” The project was called Rhythm King All Stars until Tim came up with the name Bomb the Bass.
The first cheap sampler came out a month ago, and it was revolutionary because you could rearrange an entire registry at will. The multiple paths were a real pain in the ass and took forever but this method was really fast.
The poster pretended that Beat Dis was imported from the US to get London club DJs – who were a bit of a mafia – to play it. Tim was DJ Kid 33 and his name was Emilio Pasquez. She got very big in clubs, had word of mouth, but the radio didn’t turn her on at all. It came out the same week as Kylie Minogue’s I Should Be Lucky, and if stores haven’t run out of Beat Dis, we might as well have hit #1. We have reached the Guinness Book of Records as the best new product entry by a new act.
In its launch week, we went to Virgin Megastore on Oxford Street and Tim was assaulted by people who recognized him from the video. I said goodbye. See you later!” I was 26, but he was just a kid and shy, and he was like, “Oh my God! I don’t know what to do.”
Doing so now, with the amount of samples we used, would be a logistical and legal nightmare. The poster had to be flattened so many times that there was little money left. We earned a fraction of what you would get from a regular hit.