Miami Bass, Detroit Booty / Jit, Chicago Juke – What’s The Difference?

Today, we have a special guest blog brought to us by Alexander “Benny Ben” Moore, a DJ from Metropolitan Detroit. Benny Ben is a long-time friend of Frying in Vein, so when we found the following tweet from Stones Throw CEO, Peanut Butter Wolf, we asked him to weigh in as an SME (Subject Matter Expert). We hope you enjoy the knowledge dropped!

Detroit Booty… it was almost the fucking exclusive soundtrack to the city in the midst of the 1990s

photo by Al Myers

I’ve been spinning and collecting records since like ’95-’96 when I was in 12th grade and it’s taken me until 2010 at age 32 to finally make the mix I’ve wanted to make since then. It’s called “One Track Mind, Four Track Heart” (title pending). It will be released shortly as an installment of the A-Side Worldwide podcast and it’s 60 minutes of the type of music you could only be from the Detroit area to understand… but what is it called?

Growing up in the shadows of the State Fairground Band shell (where I once heard Luke and Poison Clan perform “Shake Whatcha Mama Gave Ya’” live on my front porch, one block south of 9 Mile Road). You might say I was a bit of a loner for awhile there. Since age 11, I’ve been the type of hip hop junkie who can’t go even one minute a day without likening some everyday situation to rap lyrics or syncing it to a beat.

From about age 12 to 15, I spent my Saturday nights listening to and taping mix shows from the local radio stations 96.3, 107.5 and WJLB. At 1:00AM, there was the Hip Hop Explosion with Reggie “Hotmix” Harrel, whom I often credit as the reason I became a DJ and he is, but maybe there are others who were just as influential and maybe I haven’t been giving them enough credit.

See, I had to stay up late past 1:00AM to hear new music from Spice 1, Jeru, Daddy O, Masta Ace Inc., Original Flavor, Dred Scott, leaked cassette-hiss copies of Snoop Doggy Dogg demos and interviews with local heroes like Bo$$ and MF911.

Detroit DJs took the best from Miami- and Chicago-style records and mixed it with the Detroit techno to create the booty sound, much in the fashion that Flash, Bam or Herc created hip hop from funk, soul, jazz, disco and rock breaks.

But from 8:00PM – 1:00AM, there was a different soundtrack to my muted games of NBA Jam, Street Fighter II and let’s be honest, Sim City. DJs like DJ Dick, Claude Young, Gary Chandler and others would play the music I would never hear on the Hip Hop Explosion, except for the weeks that Reggie brought the wrong crates. 2 Live Crew, Poison Clan, Disco Rick & the Dogs, 95 South, Crazy L’eggs, Slack Pack, Kilo, Pretty Tony, Prince Raheem, MC Shy D and MC A.D.E. provided a heavy dose of the Miami Bass sound. Though some like X-Change and Bass Association were from the D and 2 Hyped Brothers and a Dog of “Doo Doo Brown” fame was from Baltimore.

Of course, there were the Old school LA and NY joints mixed in like, “Play At Your Own Risk,” “Planet Rock” and “Egypt Egypt,” as well as other songs by Professor X (aka Arabian Prince), World Class Wreckin’ Crew, LA Dream Team and The Unknown DJ.

However, these were just the names I could figure out and buy at the Record Town store in the mall or Sam’s Jams on 9 Mile Rd. What would always intrigue me the most were the dope instrumentals (maybe they might have a one-liner that repeated) that the DJs NEVER mentioned, but you heard every week. “What’s the track that goes dmm da dmmm dmmmm/ dmm da dmmm dmmmmmmm?,” I’d ask a hapless record store clerk.

Some of them like Cajmere’s “Percolator,” Eon’s “Spice” (a European oddity) were easier to track down, but I didn’t hear about joints like “Cosmic Raindance” by Cybotron or “In Synch” by Fade to Black until I started copping wax (a couple of true Detroit classics there).

And think about this. This is coming from someone who actively seeks out the music I love. Most of the people that truly enjoyed this music in its prime (read: those that were partying and getting laid instead of taping radio programs), will never know the names of all these songs and Time Life will almost certainly never compile them, not that you would probably want to hear these tracks unmixed in their entirety.

So if you noticed, I still haven’t told you what genre of music I’m talking about here. Maybe it’s because no one ever told me!

Booty, Detroit Booty, Booty House, Ghetto Tech, freak music, mix music… I’ve heard so many terms used to describe it, but I’ve never heard it replicated, but it was almost the fucking exclusive soundtrack to the city in the midst of the 1990s.

Keep in mind that most of my DJ career (1997 to present) has been centered on the type of rap music that almost no one in the world gives a crap about, so I may not have a lot of “credibility” in the eyes of some when it comes to breaking down this unique amalgamation of genres. I’ll put it this way, I’m a fan who can spin records really well and the first summer I had turntables I made it my mission to finally cop all these classics on wax. The thing is, I rarely spun them in public before about 2007. Before I did Elevation with DJ Graffiti and Buff 1 in Ann Arbor, none of the little hip hop spots I played at seemed appropriate to play something like “JPE Live” by Jam Pony Express (the crux of any booty set, btw).

That having been said, I’m glad to break this down for you from my perspective as a fan.

Pre-1996, what I prefer to call “Detroit Booty Music” was a unique blend of Detroit Techno (records like “Time Space Transmat” by Model 500), Chicago Ghetto House (records like Eric Martin’s “Hit It From the Back”) and Miami Bass (a record like “Gold Diggin’ Hoes” by MC Nas D and DJ Freaky Fred, for example). There was always random stuff thrown in for fun too – maybe a random R&B bass remix, a double-time down south hip hop track, “This Is How We Do It (instrumental)” by Montell Jordan played at 45RPM or the acapella to “Elevator Up and Down” by Interactive.

There was even a TV Show “The New Dance Show” on Channel 62 that showcased dancers “jitting,” high schools (my own Ferndale High represented one time) and DJs like Tooshay and Jesse the Body spinning this music. It was like a Detroit version of Soul Train (Miss Energy > any Soul Train Dancer).

I always liked this stuff, but there was one mixtape that made me fall in love with this style. “Volume 8” by DJ Wax Tax-N Dre. I dubbed it off this kid who used to ride with us to Taco Bell on lunch hour and it was the craziest thing I’d ever heard. It started out like a regular booty mix, then it got faster, the mixes got quicker and by the last 15 minutes of side B there was an airhorn and an announcement of ‘”The Graaaannnd Finale!”

To say this was a four-track outro would be the biggest understatement ever. To give you an example of four records that would be blending at the same time: “The Bomb! (These Sounds Fall Into My Mind)” by Bucketheads, “If I Ever Fall in Love (acapella) “ by Shai, “Bounce Your Body To The Box” by Reese & Santonio and the aforementioned “Time Space Transmat,” at least one of these may have been played at 45RPM.

As volumes of Wax Tax-N Dre tapes progressed, the grand finale would get longer. First, the whole B-side and eventually the whole tape would be in that style.

Around the spring of ’96, I started hearing original tracks by Detroit DJs like Godfather (who is the one who showed me what pitch control was on the turntables at Record Time) and Assault started creeping into the mix. While Godfather’s seemed more electro-bass-inspired at first, both DJs were dominating with tracks that featured the one-liners of Chicago records (DJ Assault’s “Same Hoe,” for example) and sometimes Miami-stye rap verses, but set to funkier Detroit Techno-esque beats (think Juan Atkins, not Richie Hawtin). They were almost the perfect mixture of the previous Detroit, Miami and Chicago sounds. Like a mixtape inside a track. It was shortly after that others like Disco D (RIP) emerged and I started to hear the term “Ghetto Tech.”

I’ll back up for a second. Around the time I discovered Wax Tax-N Dre tapes, some raver kids I knew put me up on DJ Funk tapes. Funk was from Chicago and made a lot of my favorite tracks that I heard Detroit DJs play. He was also a dope DJ. His mixtape at the time ‘Freaky Style” though was exclusively Chicago Ghetto House tracks. It was cool and put me up on a few joints I hadn’t heard, but it lacked the funk and flavor of the Detroit sound I was used to. 60 minutes of basically the same beat didn’t make for regular listening.

Miami had a rich DJ history with Ghetto Style DJs, Jam Pony and other DJ crews cutting uptempo breaks, DJs “pulling down” the volume and creating their own routines on the fly. There were a lot of dope records that came out of Miami back then and for the most part could also stand on their own outside of a DJ set.

Detroit DJs took the best from Miami- and Chicago-style records and mixed it with the Detroit Techno to create the booty sound, much in the fashion that Flash, Bam or Herc created hip hop from funk, soul, jazz, disco and rock breaks.

Coming back to the emergence of “Ghetto Tech’ records, I liken them to the early rap records in that they try to incorporate a whole night or partying (and perhaps an entire culture) into one three-minute track. Sometimes with great success, other times with bland results.

Within a couple years, through the late ‘90s and early “00s, many DJs sets had shifted from the old hodgepodge-style (as my homie Radd 1 once called it) to straight-ahead Ghetto Tech, which was cool and had its moments – tales of “check stubs,” “mouths blew out,” “player hatin’ girls,” “bustos with you and all your friends,” but by itself gave me the same blah feeling after awhile that the Chicago tapes did. It just wasn’t as funky. To be fair, Miami bass had died out and Chicago DJs (DJ Slugo, for example) were releasing records on Detroit labels, so the scene – as a whole – kind of shifted to an emphasis on Detroit, which is not a bad thing.

After about ’98, I lost track of a lot of this music. I wasn’t close to Detroit for a few years there and wasn’t hip to the scene anymore. I have heard of a Juke vs Jit documentary (Chicago vs. Detroit dance styles) that I probably need to see but haven’t bothered to.

I think I’m just stubborn and want to spin and hear this music the way I want to remember it, and as with hip hop, have very little desire to stay current if means pretending to like music I don’t like.

I appreciate you taking the time to read this and I truly can’t wait to share this mix with you. It (or this blog post) is not by any means a definitive history of the genre, just me playing and writing about the records I love. If I can’t spark some old memories, I’d like to help create some new ones.

SoundCloud Weekly – Quelle “Dreams”

Many of my friends seem to like when I share new music. I listen to a lot, so when I get the question “what’s some good new music, Hubert?,” I feel bad that I am not ready to deliver an amazing pick on queue. I know it is all in my head, but that is the way I am wired. That said, I bring to you the SoundCloud Weekly. This music-centric social media community is where I look to find new tunes from the not-yet-popular. These will be short burst posts. If I find enough information on the artist, they may make a future “Funky Friday.” Until then, you can just enjoy their good tunes.

For my first offering, I want to share two songs from an artist I know will be a “Funky Friday” feature sooner than later. His name is Quelle. He’s in the hip hop group Crown Nation and the minimalist art pop group Awesome in Outer Space. The two songs are from his Awesome in Outer Space projects.

If you dig the songs, you can download them off the Crown Nation website. There is even a place to donate if you feel so compelled. Support the autograph!

6 dreams by quelle christopher

5 shine by quelle christopher

Thanks goes out to my friend, Alex Richard, for the inspiration behind this series.

Ghostly International: FutureMusic Done Right at FutureMidwest

Religious readers may remember my post on independent music labels where I highlighted some of my favorite places to find new tunes.  I was reminded that I forgot about an outfit that happens to be based in my backyard.  This “label” is none other than Ghostly International (GI).

Ghostly lives up to its name with their eerie ability to be everywhere. With their brand associating with the likes of Adult Swim and Behance, it is obvious that there is more to them than music. Ghostly shows a distinct understanding of what it is to have vision. In this day and age, it takes a lot of garner respect in one’s own space, let alone in other spaces. GI is managing to do that. With a knack for releasing forward-thinking, electronic-based music and packaging it with artwork that can be appreciated separate from its inspiration, the Ann Arbor, MI-based art aggregator is a shining example on how to be a brand in the 21st century.

Ghostly is one of the greatest labels to ever be birthed in Michigan.

– Kelly “K-Fresh” Frazier

A couple of weeks ago, FutureMidwest – a technology and knowledge conference – took place in Royal Oak, MI, which is a suburb of Detroit. Ghostly International Founder/CEO, Sam Valenti IV, spoke about the story of Ghostly and how they have dealt with dips. Hopefully, his presentation makes it on the web, so we can share it here. It was quite inspiring. Sam’s message of innovation leading the charge in shaping a brand is what we here at Frying in Vein hope more art curation hubs strive to be. As fellow curator Renaissance Soul Detroit’s Kelly “K-Fresh” Frazier proclaims, “Ghostly is one of the greatest labels to ever be birthed in Michigan. They have been able to successfully brand a label based on a method of making music, so it gives them that legroom to move with the times.”

Inspired by Ghostly, we want to showcase some favorites of their latest material that they have out now.


Known for their techno-based artists, Randolph “Deastro” Calbot is a refreshing pick of electronic pop on Ghostly. He had us at Keeper’s, but he probably really started to gain traction when his song “Light Powered” was featured on the Ghostly Swim project.


Phantogram is not on Ghostly, but GI released a vinyl pressing of their debut album on Barsuk. The vinyl is sold-out, but you can buy a digital download from Ghostly. It is highly recommended that you buy it as it is one of current leads in albums of the year.

Mux Mool

What would the curation of electronic-based music be without a hip hop producer? Mux Mool brings the swing and the whimsical instrumental proto-funk to the genre.


This artist is hard to describe, but he’s a favorite here. Check him out in the player above or just Google him.

Grand Valley State New Music Ensemble

GI has curated this band’s rendition of Terry Riley: In C as a physical release, which you can preview and buy via the hyperlink on the band name. This very cool project is also a contender for “best of” distinction this year.

Under Creative Commons LicenseAttribution Non-Commercial Share Alike

#2 Music Industry Secret to Success – Reach Out

I have developed a set of music industry “secrets.” These “secrets” are designed to develop positive behavior, so do not expect a ton of tactical talk. Strategy will be the ultimate takeaway. In each shared “secret,” we are going to give ideas that should help you make the right changes toward a substantial music career. Be sure you check out the previous “secret” of “Be Yourself” before reading this.

Here on, we have discussed the importance of listening, particularly in the Vanilla Ice-inspired “Stop, COLLABORATE and Listen” post. Listening is key to wrangling new collaborators, friends and fans alike. Mind you, these people that you find can be all to you, but that will be up to you.

Once you have listened closely and found those that you believe would be good to get better acquainted, take the time to find out where they really dwell. You may have found them on Twitter, but take a dive into their bio/timeline and see if they might have a website. Most likely, that is probably their favorite place. You can check to see if they have a blog, a contact page or a better place to get their attention. These efforts are all steps that you should consider in your outreach efforts.

Outreach is critical to building any sort of network. It is a task that should be a constant chore. Staying in touch with your fans will prove to be the easiest way to stay relevant with them. You may not always have new material to share, but maybe it is time to see what is happening in their world. Such a basic function gives so much in value and it is probably one of the cheapest PR/Marketing tools you can leverage.


REACH OUT – learn more about the people you attract and figure out what your common interests.

Now for some tactical advice, check out my buddy Refe Tuma’s Creative Deconstruction blog post on how to properly connect with music bloggers.

Have any good outreach stories? Please share them in the comments below along with any other thing else you are compelled to say.

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FUNKY FRIDAY: We Are The Tay (The Future of Urban Pop)

Here on Frying in Vein, we are going to stick to focusing on increasing your ability to discover new music. There are plenty of great blogs that exist where you can find what is hip and cool in music, but all the music can get overwhelming. Therefore, we bring you FUNKY FRIDAY. Whether a solo artist feature or an epic DJ mix, know that we are putting the brand on the line to highlight those that make music that has staying power. We hope to not disappoint.

Introducing The Tay*, an urban pop producer (read: this means he has RANGE) based in Atlanta, GA. He has roots in Detroit, but the A-town influence is heavy. Nothing wrong with that though. Tay provides a clean and refreshing approach using 808 and 909 drum kits. This Detroiter is going to assume hometown influence on my favorite portion of this instrumental / remix project by this budding producer. The first 10 tracks are swell and all, but Tay throws us for a loop [in three movements over three tracks] starting at “Keep Some Things,” which is an excited experiment in jungle / drum-and-bass tempos. You are taken on a new journey that immediately begins to switch up about two minutes and 45 seconds into the aforementioned cut and then Tay goes into an intro for the following track “Baow Baow Batao.” “Baow Baow Batao.” has a feel that has “will be bitten by Timbaland” emanating all over it. I hope Tay gets the distinction of ghost-producing for the super-producer in his near future. I think he has the chops. He definitely is not afraid to try and make you dance.

Another point to note is that Tay mixed and mastered the entire project himself. He is currently going to school learning sound engineering. This listener is definitely impressed by the project’s fidelity.

We Are The Tay is a free project. It has got a little bit of everything – a little melancholy, some gangsta bang, even the high-energy heat that goes well when on a nice ride on the highway. So… go ahead, give the man your e-mail address and remember where you heard about this young upstart.

* Tay is the brother of Detroit CYDI member, Saron “Sean Uppercut” Dier.