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DJ KRUSH

DJ KRUSH

October 23, 2017

I kept posing and answering questions for myself. It wouldn’t pay for me to be after American HIP HOP. I kept waiting for the mentality of mine to seek for HIP HOP I only could play to come up, desperately, which yet hasn’t changed.

I’ve thought that though I am just a junior-high school graduate, I want to have masculinity with me that I can proudly show to my kids. On the other hand, I have chosen music (industry) as a means to make a living, albeit barely, in which it is hard to eke out now and then. I’ve been told many times: “Will you be able to eke out really by just handling such records at all?”. When you have to make a living, certain living expenses will monthly fly away from your pocket. Given this, I was sure at heart that I was there for music. Meanwhile, I had to go over to the fields to grab bred… At the time, I barely managed to live in such a schism like that.

One day, I was playing for break dancers on street paradise in Harajuku. Then, Keith Haring showed up to tell me, “It’s so cool!”. He in no time drew his pictures for me with chalk on the street in front of us. At the time, he told me to “keep doing”. Then I just had to. I kept posing and answering questions for myself. It wouldn’t pay for me to be after American HIP HOP. I kept waiting for the mentality of mine to seek for HIP HOP I only could play to come up, desperately, which yet hasn’t changed. When I go on tours, too, they kindly wait for me to come out of the venue. So I do as much as I can for them, as far as the security concern and convenience of the venue allows, before I come back. Like the words Keith gave to me: “I was saved by listening to the sound of KRUSH.”.

Back then, I couldn’t think of HIP HOP without rap, at a loss over what to do. I was economically pressed at a time; I even thought about quitting as a DJ. But I couldn’t be away anyways for I loved music nonetheless.

In hindsight, at the time of KRUSH Posse, MURO played the rapper for us at the center; we played the role to smoothly connect beats behind him to facilitate his rapping, a role to create a good scene for him. But KRUSH Posse eventually disbanded, with such front people gone. Back then, I couldn’t think of HIP HOP without rap, at a loss over what to do. I was economically pressed at a time; I even thought about quitting as a DJ. But I couldn’t be away anyways for I loved music nonetheless.

Then I thought about what I should do now that MC and rappers had gone. TVO’s remix was reputable in England, too, which made me realize that I should create my own view of the world with sound. The “instrumental” back then was the beat for those who rapped with Kenny-Dope-type loop. Without doubt, loops such as 45king were wonderful, but I was intent on creating a different, more loaded type of sound accompanied by more of image. DJ GO created so-called HIP-HOP likes by drawing on ideas in a HIP-HOP manner inclined to NY. I’ve also made loops by drawing on ideas nobody had come up with since then. They might have thought that ones not consistent with HIP-HOP manners were not HIP HOP, with the difference of direction becoming conspicuous since then.

When you begin to be really serious about music as an art, your income may start to decline dramatically for that. Since I had kids already, I was desperate. I created a lot of demonstration tapes desperately without sleeping. This effort of mine has been supported by my family, consenting staff, member DJs, rappers, break dancers, everyone, for them to encourage each other to move onto the top someday. Therefore, the eventual disbandment of ours led to a good result for our having looked back at ourselves.

You cannot be a solo player forever with the HIP-HOP approach. But I was in for creating scenes such as record-mixing Miles on the sound made by a band, not such a style.

At the time of JAZZY UPPER CUT, everyone was crazy about HIP HOP. I couldn’t read notes, but I dared to move into the band to create my own scratch within the band. Inserting beat without disturbing rhythm or doing scratch. You cannot be a solo player forever with the HIP-HOP approach. But I was in for creating scenes such as record-mixing Miles on the sound made by a band, not such a style. That was a decisive event.

When you are playing the instruments, the role of guitar solo or drum solo will be passed on to you. When I am asked, “Can you play the solo?”, I do not want to answer, “I can’t.”, while playing one-on-two repeatedly is not fun. “What are DJs who are just wiping other’s records!?” “You can’t be a solo, can you?” Like that. I thought my way on how to be a solo that couldn’t be beaten by guitar one. Then I came up with ideas such as inserting a scratch by changing very-long-phrase pitch and key of one with key or reviving the guitar of Jimi Hendrix. Then guitarists started to get interested to join sessions, too. Members in the band at first were skeptical, too, but gradually started to understand and approve what we were doing. While for guitar or bass, you can move your fingers wildly to make your sound much higher, for DJ, what you can do to change your sound is just to change keys in the pitch, which has told me the importance of key and pitch.

Back then since what we used were just analog records we had to rely on our ears, a painstaking effort. An analog era when we were told to mildly hold “polished-to-death” ones without any litter. Analog has its own advantages; digital does, too. DJ styles have changed over time with thousands of songs without records pouring into HD for Serato DJ to be played, which for sure have helped out many. Then what about the quality of sound, you ask? There are pros and cons to it. It’s not about getting close to digital or analogue, but users picking properly according to the situation. As I love both, I’ve decided to shift back and forth like that. For such a profession of mine, I am thinking about creating a system with a turntable and vacuum tube brought into the living room of my house for me to able to listen one by one.

 

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