Hello,
Today's Artist (born August 31, 1963 in Los Angeles, California), better known by his stage name Egyptian Lover, is an American musician, vocalist, producer and DJ, and was an important part of the L.A. dance music and rap scene in the early 1980s.. ...... N Joy
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Greg Broussard started out as a DJ in Los Angeles with Uncle Jamm's Army, DJing dances as large as the L.A. Sports Arena with 10,000 people. He began recording around Los Angeles in 1982 as a member of the Radio Crew, as well as Uncle Jamm's Army. As the Egyptian Lover he became one of the most innovative producers of the old-school/electro era.
He recorded a parade of singles during the mid-'80s that proved influential for decades. Influenced himself by Kraftwerk/hip-hop soundclashes like Afrika Bambaataa's "Planet Rock" and Man Parrish's "Hip-Hop Be Bop (Don't Stop)," as well as the extroverted black-lover soul of Prince and Zapp, Broussard began recording from his Los Angeles base in 1983. One year later, he emerged with the breakdancing anthem "Egypt, Egypt," released on the Freak Beat label. Similar to excellent tracks being produced all over America -- from Detroit (Cybotron) to New York (Mantronix) -- "Egypt, Egypt" and successors "What Is a DJ If He Can't Scratch," "And My Beat Goes Boom," and "Computer Love (Sweet Dreams)" spent much time in DJ crates during the '80s and '90s. Broussard also released several LPs from the mid-'80s through the '90s, highlighted by 1984's On the Nile (practically a greatest-hits compilation), 1986's One Track Mind, and 1994's Back from the Tomb. He returned in 2006 with Platinum Pyramids, continued to perform live -- including dates with M.I.A. -- produced a track for Rye Rye, and, in 2015, released the long-in-the-works 1984. The following year, Stones Throw compiled 1983-1988, a proper anthology of Broussard's early highlights. It included a couple re-edits from label boss Peanut Butter Wolf, who sampled "What Is a DJ If He Can't Scratch" during his early-'90s partnership with MC Charizma.
Most of the Egyptian Lover's successful recordings were 12" singles. He eventually released some of the earliest rap LPs, but they were less popular than his singles. On the strength of an alternate mix of his most popular single "Egypt, Egypt", 1984's On the Nile was moderately successful.
The Egyptian Lover also established his own record company, Egyptian Empire Records, which included artists such as Rodney O & Joe Cooley 2 Oclock & Te & Joezee.
His 2015 release, 1984, continues his tradition of using all analog equipment, including his famed Roland TR-808 (which he is widely known as "the king of"), along with much of the same gear used on his recordings of the 1980s. The name "1984" refers to his earlier albums. The album was recorded at Skip Saylor, Encore Studios, and at RUSK Studios, the same studio where On The Nile was recorded in 1984.
xxxxx
The electro producer also known as Greg Broussard recalls the studio techniques and diverse influences that made his records club hits in the 80s, and explains why the sound will never die
He was inspired at first by early electro – Afrika Bambaataa’s Planet Rock, Twilight Kingdom by Electric 22 – and by the records that inspired those artists (Kraftwerk’s Numbers was a key track) as well as Prince’s lithe dawn-of-the-1980s synth-funk. He set about building his tracks in layers, starting with “drum machine, maybe a beat programmed. And I could play it really loud in the studio, until I could get something I really liked. Then I started adding the keys, the bassline, the strings. I would let the record play over and over again, sit in the studio and write the lyrics to the record while it was being played. Then go on to the microphone, do the vocals and the song was done.”
He learned how records work by spending time in clubs, which is why the vocals were the least laboured-over part of Egyptian Lover tracks. “I started out as a dancer,” he says, “and I used to go to the clubs to dance. Then I became a DJ, and I knew what records or what parts of the records to play. Everybody liked these certain parts, so I would extend the breakdowns, put more breakdowns over the breakdowns, then more breakdowns and beats, because that’s what I wanted to dance to. When I was watching the crowd dance to certain records, they’d love the beats, they didn’t need to have words. I put the words on there so people know the name of the song.”
The Egyptian Lover character was inspired by the imagery from Earth, Wind & Fire’s releases, and from Broussard’s trip to see the treasures of Tutankhamun’s tomb when they toured the US in the late 70s. “I saw the King Tut exhibit, with this young king with his own empire, and that’s why I called my label Egyptian Empire.”
And there was another singer who really fired Broussard up. “Dean Martin has inspired me more than anyone has ever known,” he says. “Dean Martin was that sexy, ‘I got women’ kind of guy. I was in love with that whole image, and that’s where a lot of the Egyptian Lover’s image came from. He had a song called Crying Time, and I took that and made I Cry (Night After Night). My dad had a collection of Dean Martin albums, and I could pick the very first one he made, one in the middle of his career and one at the end of his career, and every one of those albums sound the same. I said to myself, ‘If I ever became a singer’ – this was before rap – ‘I would do it exactly like that.’ Because now when you buy a Dean Martin album, you’re getting a Dean Martin album. So I’m not going to change my style.”
He’s still pursuing that style – he talks about the 12in singles he plans to release from last year’s album 1984, and his hope to write a film script based on his life story. Whatever comes next, he’s still dedicated to his sound, and sure he’ll always find his audience.
“When you feel that beat and hear that music,” he says, “it makes you want to dance, it makes you feel good and have a good time. To this very day, some people like this sound, some people looooove this sound, and they go way out in the field to hear it.”
xxxxx xxxxx xxxxx xxxxx xxxxx
Fourth studio album from the recognised king of the 808, The Egyptian Lover. Get Into It, dropped in 1990 when Old School Electro had fallen out of favour, Greg Broussard stayed true to his roots and kept it real, it was released on June 2, 1990 for Egyptian Empire Records and was produced by Egytpian Lover. Get Into It was a mild success and marked the first time since 1988's Filthy that Egyptian Lover made it to the Billboard Charts, making it to #72 on the Top R&B/Hip-Hop Albums chart. The album, however, did not produce any hit singles.
The Egyptian Lover - Get Into It (flac 291mb)
01 Love Theme 4:16
02 Got Me Going Crazy 6:48
03 Me 3:32
04 90's Ladies 3:24
05 Let's Get It on 3:48
06 Get Into It 2:43
07 $ 5:06
08 Tear the Roof Off 4:40
09 Dance Music 5:12
10 Jam 4:09
xxxxx xxxxx xxxxx xxxxx xxxxx
Pyramix has a continuous mix of all his greatest hits with new flavors added in. The music continues to be bumpin' and the hypnotic rhythm is nonstop. It is quite obvious from listening to this CD that The Egyptian Lover is adjusting to the signs of the times. However it's doubtful that the Egyptian Lover's music will last as long as the pyramids! Meanwhile skaters might well enjoy jumping to these beats.
The Egyptian Lover - Pyramix (flac 268mb)
01 Pyramix Intro 1:57
02 Dance 1:54
03 The Lover 5:27
04 I Want Cha 2:19
05 Computer Power (Version II) 5:26
06 Kinky Nation (Kingdom Kum) 2:35
07 Egypt, Egypt 6:45
08 Planet E (Re-Mix) 7:05
09 Egypt's Revenge (Mega Mix) 5:28
10 Get High (Get X'd, Get Drunk, Get Sex'd) 5:49
xxxxx xxxxx xxxxx xxxxx xxxxx
I listen to "Back from the Tomb" from 1995. I start, because Egyptian Lover will play at OFF, and I like listening to things at OFF. It starts with "I'm so Freaky" and I already know what this concert will look like. Predictably? If this is how you can call the best party at the festival, so be it! "Back from the Tomb" are songs with computer-transformed vocals, rap inserts, analogue recorded dance music, strong bass, strange sounds (those sighs), an attempt to create an erotic mood and not very fitting, but intriguing, but intriguing lyrics in the style of "bounce" that bootie! " Beats are harsh and very old school here, and the tempo doesn't slow down even for a moment. I would call the very style of "winding" something between DJing and the first steps in freestyle. Add to that asthmatic breath and computer-processed voice and attempts to be seductive, and we have before our eyes the vocal full frontal of Egyptian Lover. This record probably isn't even on the verge of shame; she is already crossing that border a bit. But what of it, if the legs go for it themselves, the foundations are really great, and the whole thing is just good fun (even if done seriously)? We feel like a real musical archaeologist who came across very strange excavations and even if we do not tell anyone about it, we have just experienced the trip of our lives.
The Egyptian Lover - Back From The Tomb (flac 316mb)
01 I'm So Freaky 4:19
02 Bounce That Booty 3:50
03 I Need a Freak 4:51
04 Gotta Have Ya 4:24
05 My Lil Telephone Freak (Dial-A-Freak, Part 2) 4:32
06 Make It Talk to Me Baby 3:35
07 Work, Freak, Pump That Body 7:52
08 Yea! 4:39
09 World of Girls 5:18
10 Release to the Beat 4:39
xxxxx xxxxx xxxxx xxxxx xxxxx
The Egyptian Lover is an absolute legend of electro music. Perhaps not recognized as much in hip hop circles, he seems much more appreciated by techno producers for his (then) innovative productions and pushing the sound of electronic music forward. While Egyptian Lover hasn't been out of the music scene, he only releases a full album once a decade or so. So this brings us to his latest 1984, which as the title suggests, is a huge throwback to the classic electro sounds of the mid 80s.
As an electro lover, this is a blast to listen to. Electro in my opinion is one of the sounds that aged the best from the 80s, the blasting drums are just so nice and make for some pretty heavy banging music. Egyptian Lover hasn't lost his touch as a producer, he's still able to emulate his own sound just as good as he did it in his prime. Granted this isn't an album that redefines the genre or anything, but it's definitely a good slice of effective tunes in this sound. The lyrics are over the top silly, somehow part of his signature style too, and they don't add much to the songs but still matches with the overall fun of the record. There is no other on the planet still making this sound and Egypt returns after honing and perfecting the sound that belong sto him. Overall pretty good record, you'd have a hard time finding a better vintage electro record in the past few years, and does stack up pretty nicely next to the better albums of the genre too. This is Electro. This is 1984!
The Egyptian Lover - 1984 (flac 385mb)
01 Into the Future 6:25
02 Killin' It 4:14
03 Seduced 4:12
04 Belly Dance 4:36
05 She's So Freaky 4:45
06 Dance 2 My Beat 6:15
07 Poppers Anthem 5:02
08 Got to Get It 3:47
09 P.E.L.F. 6:59
10 Freaky Deaky Machine 5:32
11 Zombies 3:33
12 Perfection 4:38
xxxxx xxxxx xxxxx xxxxx xxxxx
Today's Artist (born August 31, 1963 in Los Angeles, California), better known by his stage name Egyptian Lover, is an American musician, vocalist, producer and DJ, and was an important part of the L.A. dance music and rap scene in the early 1980s.. ...... N Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Greg Broussard started out as a DJ in Los Angeles with Uncle Jamm's Army, DJing dances as large as the L.A. Sports Arena with 10,000 people. He began recording around Los Angeles in 1982 as a member of the Radio Crew, as well as Uncle Jamm's Army. As the Egyptian Lover he became one of the most innovative producers of the old-school/electro era.
He recorded a parade of singles during the mid-'80s that proved influential for decades. Influenced himself by Kraftwerk/hip-hop soundclashes like Afrika Bambaataa's "Planet Rock" and Man Parrish's "Hip-Hop Be Bop (Don't Stop)," as well as the extroverted black-lover soul of Prince and Zapp, Broussard began recording from his Los Angeles base in 1983. One year later, he emerged with the breakdancing anthem "Egypt, Egypt," released on the Freak Beat label. Similar to excellent tracks being produced all over America -- from Detroit (Cybotron) to New York (Mantronix) -- "Egypt, Egypt" and successors "What Is a DJ If He Can't Scratch," "And My Beat Goes Boom," and "Computer Love (Sweet Dreams)" spent much time in DJ crates during the '80s and '90s. Broussard also released several LPs from the mid-'80s through the '90s, highlighted by 1984's On the Nile (practically a greatest-hits compilation), 1986's One Track Mind, and 1994's Back from the Tomb. He returned in 2006 with Platinum Pyramids, continued to perform live -- including dates with M.I.A. -- produced a track for Rye Rye, and, in 2015, released the long-in-the-works 1984. The following year, Stones Throw compiled 1983-1988, a proper anthology of Broussard's early highlights. It included a couple re-edits from label boss Peanut Butter Wolf, who sampled "What Is a DJ If He Can't Scratch" during his early-'90s partnership with MC Charizma.
Most of the Egyptian Lover's successful recordings were 12" singles. He eventually released some of the earliest rap LPs, but they were less popular than his singles. On the strength of an alternate mix of his most popular single "Egypt, Egypt", 1984's On the Nile was moderately successful.
The Egyptian Lover also established his own record company, Egyptian Empire Records, which included artists such as Rodney O & Joe Cooley 2 Oclock & Te & Joezee.
His 2015 release, 1984, continues his tradition of using all analog equipment, including his famed Roland TR-808 (which he is widely known as "the king of"), along with much of the same gear used on his recordings of the 1980s. The name "1984" refers to his earlier albums. The album was recorded at Skip Saylor, Encore Studios, and at RUSK Studios, the same studio where On The Nile was recorded in 1984.
xxxxx
The electro producer also known as Greg Broussard recalls the studio techniques and diverse influences that made his records club hits in the 80s, and explains why the sound will never die
He was inspired at first by early electro – Afrika Bambaataa’s Planet Rock, Twilight Kingdom by Electric 22 – and by the records that inspired those artists (Kraftwerk’s Numbers was a key track) as well as Prince’s lithe dawn-of-the-1980s synth-funk. He set about building his tracks in layers, starting with “drum machine, maybe a beat programmed. And I could play it really loud in the studio, until I could get something I really liked. Then I started adding the keys, the bassline, the strings. I would let the record play over and over again, sit in the studio and write the lyrics to the record while it was being played. Then go on to the microphone, do the vocals and the song was done.”
He learned how records work by spending time in clubs, which is why the vocals were the least laboured-over part of Egyptian Lover tracks. “I started out as a dancer,” he says, “and I used to go to the clubs to dance. Then I became a DJ, and I knew what records or what parts of the records to play. Everybody liked these certain parts, so I would extend the breakdowns, put more breakdowns over the breakdowns, then more breakdowns and beats, because that’s what I wanted to dance to. When I was watching the crowd dance to certain records, they’d love the beats, they didn’t need to have words. I put the words on there so people know the name of the song.”
The Egyptian Lover character was inspired by the imagery from Earth, Wind & Fire’s releases, and from Broussard’s trip to see the treasures of Tutankhamun’s tomb when they toured the US in the late 70s. “I saw the King Tut exhibit, with this young king with his own empire, and that’s why I called my label Egyptian Empire.”
And there was another singer who really fired Broussard up. “Dean Martin has inspired me more than anyone has ever known,” he says. “Dean Martin was that sexy, ‘I got women’ kind of guy. I was in love with that whole image, and that’s where a lot of the Egyptian Lover’s image came from. He had a song called Crying Time, and I took that and made I Cry (Night After Night). My dad had a collection of Dean Martin albums, and I could pick the very first one he made, one in the middle of his career and one at the end of his career, and every one of those albums sound the same. I said to myself, ‘If I ever became a singer’ – this was before rap – ‘I would do it exactly like that.’ Because now when you buy a Dean Martin album, you’re getting a Dean Martin album. So I’m not going to change my style.”
He’s still pursuing that style – he talks about the 12in singles he plans to release from last year’s album 1984, and his hope to write a film script based on his life story. Whatever comes next, he’s still dedicated to his sound, and sure he’ll always find his audience.
“When you feel that beat and hear that music,” he says, “it makes you want to dance, it makes you feel good and have a good time. To this very day, some people like this sound, some people looooove this sound, and they go way out in the field to hear it.”
xxxxx xxxxx xxxxx xxxxx xxxxx
Fourth studio album from the recognised king of the 808, The Egyptian Lover. Get Into It, dropped in 1990 when Old School Electro had fallen out of favour, Greg Broussard stayed true to his roots and kept it real, it was released on June 2, 1990 for Egyptian Empire Records and was produced by Egytpian Lover. Get Into It was a mild success and marked the first time since 1988's Filthy that Egyptian Lover made it to the Billboard Charts, making it to #72 on the Top R&B/Hip-Hop Albums chart. The album, however, did not produce any hit singles.
The Egyptian Lover - Get Into It (flac 291mb)
01 Love Theme 4:16
02 Got Me Going Crazy 6:48
03 Me 3:32
04 90's Ladies 3:24
05 Let's Get It on 3:48
06 Get Into It 2:43
07 $ 5:06
08 Tear the Roof Off 4:40
09 Dance Music 5:12
10 Jam 4:09
xxxxx xxxxx xxxxx xxxxx xxxxx
Pyramix has a continuous mix of all his greatest hits with new flavors added in. The music continues to be bumpin' and the hypnotic rhythm is nonstop. It is quite obvious from listening to this CD that The Egyptian Lover is adjusting to the signs of the times. However it's doubtful that the Egyptian Lover's music will last as long as the pyramids! Meanwhile skaters might well enjoy jumping to these beats.
The Egyptian Lover - Pyramix (flac 268mb)
01 Pyramix Intro 1:57
02 Dance 1:54
03 The Lover 5:27
04 I Want Cha 2:19
05 Computer Power (Version II) 5:26
06 Kinky Nation (Kingdom Kum) 2:35
07 Egypt, Egypt 6:45
08 Planet E (Re-Mix) 7:05
09 Egypt's Revenge (Mega Mix) 5:28
10 Get High (Get X'd, Get Drunk, Get Sex'd) 5:49
xxxxx xxxxx xxxxx xxxxx xxxxx
I listen to "Back from the Tomb" from 1995. I start, because Egyptian Lover will play at OFF, and I like listening to things at OFF. It starts with "I'm so Freaky" and I already know what this concert will look like. Predictably? If this is how you can call the best party at the festival, so be it! "Back from the Tomb" are songs with computer-transformed vocals, rap inserts, analogue recorded dance music, strong bass, strange sounds (those sighs), an attempt to create an erotic mood and not very fitting, but intriguing, but intriguing lyrics in the style of "bounce" that bootie! " Beats are harsh and very old school here, and the tempo doesn't slow down even for a moment. I would call the very style of "winding" something between DJing and the first steps in freestyle. Add to that asthmatic breath and computer-processed voice and attempts to be seductive, and we have before our eyes the vocal full frontal of Egyptian Lover. This record probably isn't even on the verge of shame; she is already crossing that border a bit. But what of it, if the legs go for it themselves, the foundations are really great, and the whole thing is just good fun (even if done seriously)? We feel like a real musical archaeologist who came across very strange excavations and even if we do not tell anyone about it, we have just experienced the trip of our lives.
The Egyptian Lover - Back From The Tomb (flac 316mb)
01 I'm So Freaky 4:19
02 Bounce That Booty 3:50
03 I Need a Freak 4:51
04 Gotta Have Ya 4:24
05 My Lil Telephone Freak (Dial-A-Freak, Part 2) 4:32
06 Make It Talk to Me Baby 3:35
07 Work, Freak, Pump That Body 7:52
08 Yea! 4:39
09 World of Girls 5:18
10 Release to the Beat 4:39
xxxxx xxxxx xxxxx xxxxx xxxxx
The Egyptian Lover is an absolute legend of electro music. Perhaps not recognized as much in hip hop circles, he seems much more appreciated by techno producers for his (then) innovative productions and pushing the sound of electronic music forward. While Egyptian Lover hasn't been out of the music scene, he only releases a full album once a decade or so. So this brings us to his latest 1984, which as the title suggests, is a huge throwback to the classic electro sounds of the mid 80s.
As an electro lover, this is a blast to listen to. Electro in my opinion is one of the sounds that aged the best from the 80s, the blasting drums are just so nice and make for some pretty heavy banging music. Egyptian Lover hasn't lost his touch as a producer, he's still able to emulate his own sound just as good as he did it in his prime. Granted this isn't an album that redefines the genre or anything, but it's definitely a good slice of effective tunes in this sound. The lyrics are over the top silly, somehow part of his signature style too, and they don't add much to the songs but still matches with the overall fun of the record. There is no other on the planet still making this sound and Egypt returns after honing and perfecting the sound that belong sto him. Overall pretty good record, you'd have a hard time finding a better vintage electro record in the past few years, and does stack up pretty nicely next to the better albums of the genre too. This is Electro. This is 1984!
The Egyptian Lover - 1984 (flac 385mb)
01 Into the Future 6:25
02 Killin' It 4:14
03 Seduced 4:12
04 Belly Dance 4:36
05 She's So Freaky 4:45
06 Dance 2 My Beat 6:15
07 Poppers Anthem 5:02
08 Got to Get It 3:47
09 P.E.L.F. 6:59
10 Freaky Deaky Machine 5:32
11 Zombies 3:33
12 Perfection 4:38
xxxxx xxxxx xxxxx xxxxx xxxxx
I can't download 1984. There is no valid download button on the website.
ReplyDeleteHello BBhelay, for some reason Chrome refuses to connect to multiup.org and dailyuploads.net you'll need Mozilla to link up there, where you'll find 1984 no problemo. I will add that the use of adblocker is recommended.
ReplyDelete