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Paul Winley

Record sleeve of Harlem Underground Band (1976) on Paul Winley records

Malcolm X

Malcolm's spirit was constantly being invoked because back in the days popular deejays, in particular Afrika Bambaataa would lay excerpts from his speeches over popular break beats. Years later people like myself as well as numerous others would follow suit on air.

To this day I still pull out 'Message To The Grass Roots' or Ballot of the Bullet' and rock them over funky beats. Playing Malcolm was done on the regular, it didn't matter whether it was his birthday or not. Malcolm was a constant companion to the early hip hop generation. Just to give you an idea of how popular Malcolm X was,there were pressing of some of his famous speeches on Paul Winley records that sold like hot cakes during Hip Hop's early days. In these reissued recordings a fictional announcer had been inserted asking Malcolm pertinent questions on all sorts of pressing issues ranging from his views on non-violence to the concept of black Nationalism. The answers to the announcers questions were of course taken from various Malcolm X speeches, in particular The Ballot or the Bullet speech. The ironic thing about Malcolm being recorded on Paul Winley records was the fact that this small label was one of the first to compile popular break beats and issue them on a series of albums. I still have my collection and to this day I play cuts like 'Cheeba Cheeba', 'Bra' and 'Scratchin' and the 'Funky Penguin' to name a few. Everyone who was into hip hop back then had at least one Paul Winley record.. His releases proceeded Sugar Hill by more then a few years..

Super Disco Brake's

Super Disco Brake's vol.4 (1981) - Paul Winley

A1 Martin Circus Disco Circus
A2 Cerrone Rock It In The Pocket
A3 Creative Source Who Is He And What Is He To You?
B1 Captain Sky Super Sperm
B2 Blackbyrds, The Unfinished Business
B3 8th. Day She's Not Just Another Woman

Originally released back in the early '80s, Paul Winley's series of breaks albums were the first of their kind. Winley bootlegged the tracks that the likes of Grandmaster Flash and Grandwizard Theodore were mixing into their dj sets. Most of the tracks are extremley hard to find anywhere else unless you have a large wedge. --http://www.tunes.co.uk/tunes/featured/8102.html [Jun 2005]

http://www.discogs.com/release/170655 vol. 1

A1 Bob James Mardi Gras
A2 Pat Lundy Work Song
A3 J.B.'s, The Blow Your Head
A4 Magic Disco Machine, The Scratchin'
B1 New Birth Gotta Get A Knutt
B2 New Birth I Can Understand It
B3 Creative Source Corazon
B4 Dennis Coffey Scorpio

http://www.discogs.com/release/166218 vol. 2

A1 James Brown Funky Drummer
A2 Juice Catch A Groove
A3 Captain Sky Super Sperm
A4 Bill Withers Use Me
B1 Cymande Dove
B2 Meters, The Sophisticated Cissy
B3 Ann Winley Watch Dog

http://www.discogs.com/release/164977 vol. 3

A1 Cymande Bra
A2 Arawak All Stars Apache
A3 Tanya Winley Vicious Rap
A4 Alan Douglas Hustlers Rap
B1 Mighty Tom Cats Soul Makossa
B2 Dyke & The Blazers Funky Nassau
B3 Gil Scott-Heron In the Bottle
B4 Wagadu-Gu Easy Dancin'

http://www.discogs.com/release/166442 vol. 4

A1 Martin Circus Disco Circus
A2 Cerrone Rock It In The Pocket
A3 Creative Source Who Is He And What Is He To You?
B1 Captain Sky Super Sperm
B2 Blackbyrds, The Unfinished Business
B3 8th. Day She's Not Just Another Woman

http://www.discogs.com/release/171825 vol. 5

A1 James Brown Good Foot
A2 Apache Band Bongo Rock
A3 Parliament Give Up the Funk
A4 Politicians Free Your Mind
B1 Ray Charles America The Beautiful
B2 Maceo Party
B3 Grover Washington Jr. Masterpiece
B4 Chakachas, The Jungle Fever

http://www.discogs.com/release/171826 vol. 6

A1 Barrabas Woman
A2 James Brown Sex Machine
A3 Eddie Kendricks Girl You Need A Change Of Mind
A4 Curtis Mayfield Super Fly
B1 L.T.D. Cutting It Up
B2 Jimmy "Bo" Horne Spank
B3 Jimmy Castor It's Just Begun
B4 Rufus Thomas Do The Funky Chicken

Paul Winley and rap music
In the mid-1970s, hip hop split into two camps. One sampled disco and focused on getting the crowd dancing and excited, with simple or no rhymes; these DJs included Pete DJ Jones, Eddie Cheeba, DJ Hollywood and Love Bug Starski. On the other hand, another group were focusing on rapid-fire rhymes and a more complex rhythmic scheme. These included Afrika Bambaataa, Paul Winley, Grandmaster Flash and Bobby Robinson. --http://en.wikipedia.org/wiki/Hip_hop_music#Diversification_of_styles_in_the_late_1970s [Jun 2005]

Paul Winley's Super Disco Breaks bootlegs
Paul Winley Record's bootleg Super Disco Breaks were the first break beat compilations. Another series is Ultimate Breaks and Beats of which there are 25 volumes, also bootleg. Hip hop break beat compilations include Hardcore Break Beats and Break Beats, and Drum Drops. --http://en.wikipedia.org/wiki/Break_%28music%29 [Jun 2005]

see also: Paul Winley - rap - disco - break beats

Smokin' Cheeba Cheeba

Smokin' Cheeba Cheeba - Harlem Underground Band - Paul Winley Records
"Smokin' Cheeba Cheeba" was written by Paul and Ann Winley and performed by the Harlem Underground Band in 1976 on their only album on Paul Winley Records. It features jazz-guitar great George Benson, a lengthy harmonica solo by Buddy "Pop" Lewis and the recurring "cheeba cheeba" theme sung by Ann Winley. In 1989, Tone Loc sampled this track for his own "Cheeba Cheeba."

Super Disco Brakes

Super Disco Brakes are still available in NYC - they are bootlegs, put out thru Paul Winley Records; i think hes still in business but due to his bootleg status wants people to think he's not.

Harlem Underground Band

Sometime in the late 60s, Paul Winley convinced WILLIS JACKSON, Dave "Baby" Cortez, George Benson, and Sterling "Satan" Magee (now recording as SATAN & ADAM) to record a R&B session that was released on Bellaphon (as the Harlem Underground Band) and Upfront Records.


These Are The Breaks . . .

By Budda Bob

from The Bomb Hip-Hop Magazine #41 (June/July 1995)

Breakbeats. The spine of rap music. They've come a long, long way since the mid-Seventies, when pioneer dj's like Herc, Flash, Bam, Breakout and Disco King Mario began dissecting "breaks" from the original sources to mix, loop & scratch into improvised tracks. Back in the early days, NYC crews used two distinct methods of creating tracks. First & foremost were the underground crews in the South Bronx... never on stage without a dj cutting up on the one & twos. These originators mastered the "two turntables & a microphone" setup with maybe a human beatbox, Linn drums or DX7 keys for the crews that ran deep... like the Black Bee's, Herculoids or Zulu Nation. The other approach to early rap was live musicians, the first being the Fatback Band and King Tim's "King Tim III (Personality Jocks)", playing live disco & funk instrumentals with the focus being on the MC's rhyme skills. This style gave birth to the first commercial rap hit, "Rapper's Delight" by you know who, backed by the band Positive Force. Other groups, like D.C. go-goers Trouble Funk, caught vapors of this R&B rap style, but the timefor dj's armed with breakbeats was overdue had already taken over the streets... peep early breakbeat classics like "Break Dancin'-Electric Boogie" by West Street Mob, Funky Four's "King Heroin" or Malcom McLaren's "D'ya Like Scratchin" for reference. --http://www.bombhiphop.com/breaks.htm

Afrika Bambaataa [...]

Afrika Bambaata and his crew the Zulu Nation release their first 12" on Paul Winley Records called "Zulu Nation Throwdown Pt. 1" in 1980

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