Steve „Pump up the Volume“ Young R.I.P.


Steve Young ist gestorben. Ich finde nirgendwo sein Alter, das Bild oben stammt aus seiner Zeit in der Band Colourbox irgendwann Mitte der 80er, alt kann er nicht gewesen sein.

Sein größtes Vermächtnis ist allerdings nicht mit der Band entstanden, sondern in einer einmaligen Kollaboration mit den Dream-Poppern von A.R. Kane gewesen sein, als er mit ihnen und zusammen mit seinem Bruder Martyn unter dem Namen M/A/R/R/S den Track „Pump up the Volume“ schrieb und damit einen weltweiten Hit landete, den wohl ersten Mainstream-Hit eines DJ-Tracks. Manche der Samples aus „Pump up the Volume“ gehen mir heute noch im Kopf rum, vor allem „Pump that Bass“ und „Put the needle on the record when the song beats go like this“.

Der Track ritt damals auf der ersten Chicago House-Welle, „Jack Your Body“ erschien rund ein halbes Jahr vorher, M/A/R/R/S' „Pump up the Volume“ verhalf Dance und House endgültig zum Durchbruch und war der erste Hit, der vor allem aus Samples bestand. Rest is history. R.I.P. Steve. Pump that bass.

Vom Rolling Stone: Steve Young, of M/A/R/R/S' 'Pump Up the Volume' Fame, Dead.

Steven and Martyn would make their biggest impact on pop culture by becoming the "S" and "M" in one-hit wonders M/A/R/R/S, the influential electro-funk group that also featured A.R. Kane's Alex Ayuli and Rudi Tambala and mixers CJ Mackintosh and DJ Dave Dorrell. Their sole single, 1987's upbeat, scratch-heavy "Pump Up the Volume" – a collage of samples of tracks by James Brown, Kool & the Gang, Public Enemy and Trouble Funk, among others – became a worldwide hit. It spent 18 weeks on the U.K. charts and reached Number One there, while it made it to Number 13 in the U.S. in a version without some of the samples on its U.K. counterpart. The Young brothers shared writing credits on both "Pump Up the Volume" and its flipside, the noisier, guitar-laden "Anitina (The First Time I See She Dance)."

How M/A/R/R/S' 'Pump Up the Volume' Became Dance Music's First Pop Hit

In 1987, long out-of-print seventies funk and soul — known in the UK as "rare groove" — was the hottest sound in London. At the same time, it was beginning to be mined for hip-hop samples. You could walk into a New York record shop and see a wall full of 12-inches devoted to James Brown samples alone, from Afrika Bambaataa's homemade "Fusion Beats Vol. 2" through Double Dee and Steinski's landmark "Lesson Mixes" (one, two, three), to T.D. Records' "Feelin' James" (whose anonymous editor was the storied New York disco DJ Danny Krivit). In addition, 1987 saw both Steinski's JFK cut-up "The Motorcade Sped On" given away as a flexidisc with an issue of NME, and the UK duo Coldcut's debut, with "Say Kids, What Time Is It?" […]

"Pump Up the Volume" hit the shelves shortly thereafter, containing chunks of "Roadblock" and prompting Peter Waterman to file a pair of suits. (The version released in America removed the offending samples.) M/A/R/R/S also nodded at yet another cut-up — Criminal Element Orchestra's "Put the Needle to the Record" (created by "Planet Rock" producer Arthur Baker) — by turning its title into their own hook.

To M/A/R/R/S's surprise, "Volume" blew up instantly. "Before we knew it, it was a snowball," Dorrell told Bidder. "4AD was getting phone calls ... radio wanted to play the record and it hit straight into the charts ... We knocked Rick Astley off, who was the biggest thing in the country. We went to number one [in the UK] and kept Michael Jackson off. We felt quite good that week." "Volume" rose to number 13 in America — nearly as impressive, considering that U.S. radio was barely playing hip-hop, even in the wake of Run-D.M.C.'s massive crossover success, never mind house music.