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!
Miami Bass, Detroit Booty/Jit, Chicago Juke - What's the Difference?

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

Alexander "Benny Ben" Moore at The Do-Over

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.

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This entry was posted on Thursday, May 13th, 2010 at 4:15 PM and is filed under People, S.M.A.R.T. Goal Driven, Tunes. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
  • http://www.create2destroy.com c-sick

    hehehe. that really captured the moment. “whats that song that goes chuck chuck chuck”??? definitely asked that question a few times before getting the answer. I agree that the “Detroit Dance” scene kinda took a bit of a nose dive once the Ghettotech genre was established, although plenty records have come out since then under that genre that I love, on that instrumental only vibe.

    Thanks for takin me back Ben, long time no see

    • UHarris

      What is the song that goes “chuck chuck chuck”? I’ve been searching for ages. Thx.

      • http://www.djbennyben.com DJ Benny Ben

        Sole Waves (Chuck Chop Mix) – as its labeled on the cassete single
        Sole Waves (Claperation Mix) – as labeled on the 12″ single

        artist is Sole Tech,
        Label: Detrechno

        from the album “Back to the Future”

        thanks for reading, mix coming SOON!

  • http://www.create2destroy.com c-sick

    hehehe. that really captured the moment. “whats that song that goes chuck chuck chuck”??? definitely asked that question a few times before getting the answer. I agree that the “Detroit Dance” scene kinda took a bit of a nose dive once the Ghettotech genre was established, although plenty records have come out since then under that genre that I love, on that instrumental only vibe.

    Thanks for takin me back Ben, long time no see

    • UHarris

      What is the song that goes “chuck chuck chuck”? I’ve been searching for ages. Thx.

      • http://www.djbennyben.com DJ Benny Ben

        Sole Waves (Chuck Chop Mix) – as its labeled on the cassete single
        Sole Waves (Claperation Mix) – as labeled on the 12″ single

        artist is Sole Tech,
        Label: Detrechno

        from the album “Back to the Future”

        thanks for reading, mix coming SOON!

  • http://www.djbennyben.com Benny Ben

    good to see you weigh in mr. c-sick! thanks
    .-= Benny Ben´s last blog ..Exclusive Interview with TheUrbanian.com =-.

  • http://www.djbennyben.com Benny Ben

    good to see you weigh in mr. c-sick! thanks
    .-= Benny Ben´s last blog ..Exclusive Interview with TheUrbanian.com =-.

  • Pingback: And now you know. | Noël

  • http://youtube.com/ghettotekz Neema

    The scene has changed quite a lot since the end of the 90′s, and there’s still a lot of inaccuracies in this article about Chicago Ghetto House/Juke music, as well as Ghetto Tech scene.

    Firstly, I’ll bring up Chicago, it’s history, and where we’re at today.

    Juke and footwork is the nearly 30 year evolution of house music within the Chicago community. House music itself, besides being most popularly told as coming from the gay north side scene, actually had deep roots in the Puerto Rican, Mexican, and Black communities of Chicago. All the popular dj’s and artists that were making house music were still livin in their same neighborhoods, and thus made house music an intricate part of local culture. Some of the biggest house musicians at that time still live in the neighborhoods where they grew up, like Gene Hunt, and Adonis.

    However, as house music grew older, the style changed up a bit, and one of these off-branches of house was ghetto house. Since house music was already popular in every part of Chicago, it was inevitable that the house music itself would start to take shape in the individual communities in which it was raised upon. Due to Chicago’s deep segregation, separation, and exclusion of black people from not just other cultures, but from other black people as well, it was almost expected that each individual part would have their own identifiable style. What I mean from this is that the projects on the Low End had their own style of ghetto house, people on the west side had their own style, and people faaaar south had their own style. Not only was the exclusion of these different sides due to segregation, it’s just they’re faaar as hell from each other! Someone from 138th and Halsted will have a hell of a hard time gettin out to a party on Lake and Pulaski. This is not to say that these parts never interacted with each other, cuz thats true. People like Gerald, and Waxmaster knew, and were familiar with Deeon and Slugo. They were all part of the same culture, but each side had somewhat their own distinct style. While there’s always been some artificial rivalry between the south and west side, these guys did know, talk, and visited each other.

    Now when it comes to Miami Bass and Chicago, I have to point out that Chicago ghetto house isn’t some homogeneous genre. There are people like Funk who sample Miami Bass to what seems like every other track. Then there are people such as Paul Johnson, Eric Martin, Jammin Gerald, and Waxmaster who made sped up house tracks with harder basses, cooler lines, and just created a sound that can only be recognized as the ghetto house sound. Here’s some tracks:

    http://www.youtube.com/watch?v=NrutLOI5wfQ
    http://www.youtube.com/watch?v=WUfbypXNYAQ
    http://www.youtube.com/watch?v=Gk88dljeg6E

    Then there are people like DJ PJ, DJ Greedy, and DJ Deeon who made the above type tracks, but also were responsible for creating a ghetto house sound that became more focused on toms, bass, claps, and chants:

    http://www.youtube.com/watch?v=V6oUX4IV4v4
    http://www.youtube.com/watch?v=2iJWoqg1xyg

    Now here’s something to keep in mind. Because the producers of ghetto house tracks were already considered legends or pioneers in original forms of house music, there tracks would often times borrow from acid, hard, and deep house. To this day, DJ D-Man’s track, Dooky Booty is not just a ghetto house anthem, it’s a hard house staple!

    And to go off point for a little, one of the biggest influences ghetto house has had on music is the Baltimore Club scene. This track, heard in almost every BMore mixtape is not from Baltimore, it’s a Chicago classic!

    http://www.youtube.com/watch?v=GD-zLFOe60Q

    But back to the real subject at hand. Juke, in and of itself, was the generation of kids who apprenticed under people such as Deeon, PJ, Funk, and Gerald. They sped the music up, either used or mutated tom patterns of their elders. Even if you ask most juke artists what the difference is between ghetto house and juke, they’ll say it’s the same thing, except the speed is different. Below is one of Puncho’s groundbreaking tracks with Gantman, followed by the now classic track, Get Down Lil Mama.

    http://www.youtube.com/watch?v=SXrQLFAOGeY
    http://www.youtube.com/watch?v=Cb91z_3b79w

    As you can tell, the sound just got faster, simpler, and much more chant oriented. These were some of the original tracks that pioneered the road for juke to finally be recognized on the radio, and create hit tracks such as Bounce N Break Yo Back, and Juke That.

    http://www.youtube.com/watch?v=ulwgsipCx-4

    Right now, a lot of the juke producers are making their bass, tom, and snare patterns more complex, and some would even say footwork oriented. Just for your own personal enjoyment, just go through the music on DJ Spinn’s myspace page:

    http://www.myspace.com/djspinn163

    Now, I’ll be extremely brief with footworking. Ghetto House/Juke tracks were always made with the intention of having people to footwork to them. However, they were just party tracks…but as time went on, there were more and more artists coming out of the dance crews that wanted to make tracks specifically for the dancers. There were a few tracks that signified the change in sounds, but this RP Boo track is basically what created the sound we hear today.

    http://www.youtube.com/watch?v=KFrOID0V3Hw

    This took way more time than I expected it to, but I hope it helps for those interested in the Chicago sound.

    And to the comment that we’ve become more Detroit oriented, that has died down a lot. Electrobounce isn’t what it used to be for a lot of artists, and juke labels are popping up much more often.

    If you got any questions, send me an e-mail! I know most guys in the industry, so lemme know whats up!

    • http://www.djbennyben.com DJ Benny Ben

      gave these a listen. “Feel My MF Bass” is one of my favorites EVER! lots of classsics. In Detroit they used to play Get The Ho ’94 at 45 or at least pitched waaay up. That “Fire Alarm” is a classic too! You had some old joints I hadn’ t heard before (probably never made it across to the D) that were crazy too. Those Juke records were dope too, and again I hadn’t heard any of them.

      Its awesome to see a post from someone that has so much passion for this shit.

      Thanks again!

  • http://youtube.com/ghettotekz Neema

    The scene has changed quite a lot since the end of the 90′s, and there’s still a lot of inaccuracies in this article about Chicago Ghetto House/Juke music, as well as Ghetto Tech scene.

    Firstly, I’ll bring up Chicago, it’s history, and where we’re at today.

    Juke and footwork is the nearly 30 year evolution of house music within the Chicago community. House music itself, besides being most popularly told as coming from the gay north side scene, actually had deep roots in the Puerto Rican, Mexican, and Black communities of Chicago. All the popular dj’s and artists that were making house music were still livin in their same neighborhoods, and thus made house music an intricate part of local culture. Some of the biggest house musicians at that time still live in the neighborhoods where they grew up, like Gene Hunt, and Adonis.

    However, as house music grew older, the style changed up a bit, and one of these off-branches of house was ghetto house. Since house music was already popular in every part of Chicago, it was inevitable that the house music itself would start to take shape in the individual communities in which it was raised upon. Due to Chicago’s deep segregation, separation, and exclusion of black people from not just other cultures, but from other black people as well, it was almost expected that each individual part would have their own identifiable style. What I mean from this is that the projects on the Low End had their own style of ghetto house, people on the west side had their own style, and people faaaar south had their own style. Not only was the exclusion of these different sides due to segregation, it’s just they’re faaar as hell from each other! Someone from 138th and Halsted will have a hell of a hard time gettin out to a party on Lake and Pulaski. This is not to say that these parts never interacted with each other, cuz thats true. People like Gerald, and Waxmaster knew, and were familiar with Deeon and Slugo. They were all part of the same culture, but each side had somewhat their own distinct style. While there’s always been some artificial rivalry between the south and west side, these guys did know, talk, and visited each other.

    Now when it comes to Miami Bass and Chicago, I have to point out that Chicago ghetto house isn’t some homogeneous genre. There are people like Funk who sample Miami Bass to what seems like every other track. Then there are people such as Paul Johnson, Eric Martin, Jammin Gerald, and Waxmaster who made sped up house tracks with harder basses, cooler lines, and just created a sound that can only be recognized as the ghetto house sound. Here’s some tracks:

    http://www.youtube.com/watch?v=NrutLOI5wfQ
    http://www.youtube.com/watch?v=WUfbypXNYAQ
    http://www.youtube.com/watch?v=Gk88dljeg6E

    Then there are people like DJ PJ, DJ Greedy, and DJ Deeon who made the above type tracks, but also were responsible for creating a ghetto house sound that became more focused on toms, bass, claps, and chants:

    http://www.youtube.com/watch?v=V6oUX4IV4v4
    http://www.youtube.com/watch?v=2iJWoqg1xyg

    Now here’s something to keep in mind. Because the producers of ghetto house tracks were already considered legends or pioneers in original forms of house music, there tracks would often times borrow from acid, hard, and deep house. To this day, DJ D-Man’s track, Dooky Booty is not just a ghetto house anthem, it’s a hard house staple!

    And to go off point for a little, one of the biggest influences ghetto house has had on music is the Baltimore Club scene. This track, heard in almost every BMore mixtape is not from Baltimore, it’s a Chicago classic!

    http://www.youtube.com/watch?v=GD-zLFOe60Q

    But back to the real subject at hand. Juke, in and of itself, was the generation of kids who apprenticed under people such as Deeon, PJ, Funk, and Gerald. They sped the music up, either used or mutated tom patterns of their elders. Even if you ask most juke artists what the difference is between ghetto house and juke, they’ll say it’s the same thing, except the speed is different. Below is one of Puncho’s groundbreaking tracks with Gantman, followed by the now classic track, Get Down Lil Mama.

    http://www.youtube.com/watch?v=SXrQLFAOGeY
    http://www.youtube.com/watch?v=Cb91z_3b79w

    As you can tell, the sound just got faster, simpler, and much more chant oriented. These were some of the original tracks that pioneered the road for juke to finally be recognized on the radio, and create hit tracks such as Bounce N Break Yo Back, and Juke That.

    http://www.youtube.com/watch?v=ulwgsipCx-4

    Right now, a lot of the juke producers are making their bass, tom, and snare patterns more complex, and some would even say footwork oriented. Just for your own personal enjoyment, just go through the music on DJ Spinn’s myspace page:

    http://www.myspace.com/djspinn163

    Now, I’ll be extremely brief with footworking. Ghetto House/Juke tracks were always made with the intention of having people to footwork to them. However, they were just party tracks…but as time went on, there were more and more artists coming out of the dance crews that wanted to make tracks specifically for the dancers. There were a few tracks that signified the change in sounds, but this RP Boo track is basically what created the sound we hear today.

    http://www.youtube.com/watch?v=KFrOID0V3Hw

    This took way more time than I expected it to, but I hope it helps for those interested in the Chicago sound.

    And to the comment that we’ve become more Detroit oriented, that has died down a lot. Electrobounce isn’t what it used to be for a lot of artists, and juke labels are popping up much more often.

    If you got any questions, send me an e-mail! I know most guys in the industry, so lemme know whats up!

    • http://www.djbennyben.com DJ Benny Ben

      gave these a listen. “Feel My MF Bass” is one of my favorites EVER! lots of classsics. In Detroit they used to play Get The Ho ’94 at 45 or at least pitched waaay up. That “Fire Alarm” is a classic too! You had some old joints I hadn’ t heard before (probably never made it across to the D) that were crazy too. Those Juke records were dope too, and again I hadn’t heard any of them.

      Its awesome to see a post from someone that has so much passion for this shit.

      Thanks again!

  • http://www.djbennyben.com Benny Ben

    Neema,

    The education on the Chi-town side of things is greatly appreciated, because my experience has been greatly limited, having heard most of my favorite Chi-town classics on Detroit mixtpaes & mixshows circa 1991-1998 (belive me I got my “Dooky Boody” 12″ with “Get a Ho Wit a Job” on the flip). When I get home from work I’ll peep the videos too. I hope you check my mix out when it drops too because I think you’d enjoy the Chicago classics and the rest, if you’re anything like me!

    For sure there weere bound to be some inaccuracies, since I was just “break(ing) this down for you from my perspective as a fan.. this blog post… is not by any means a definitive history of the genre, just me playing and writing about the records I love.”

    hahah

    I made sure to put my disclaimer! So many more records, DJs, artists, etc to write about… couldn’t get them all in there at one time.

    Like I said , thanks for the insight, and to round things out… if I can get a Miami or B’more cat to post thier perspective that ‘ll be interesrting too!

    Peace
    .-= Benny Ben´s last blog ..Exclusive Interview with TheUrbanian.com =-.

    • http://youtube.com/ghettotekz Neema

      I’m definitely gonna check out your mixtape! Man, I know exactly the type of Detroit mixtapes you’re talkin about, because Assault, Mr. De, and yes, the underground king, DJ Maacos, are all gods to me! Detroit Ghettotech just ain’t Detroit tracks, it’s d n b, ghetto house, ghetto tech, jittin tracks, i’ve even been hearin some dubstep stuff lately, it’s awesome!

      Detroit is like a second home to me. And thats probably even a better place than Chicago to get Dancemania stuff, believe it or not! The people here who bought the stuff refuse to let it go while the people out there are more willin to throw it in the dollar bin pile, haha.

      But if you want, I can get you in contact with some of the guys who run juke out here in Chicago. I myself am starting my own juke label, as well as run a pretty popular footwork youtube page, youtube.com/ghettotekz, so we’d love to get shit together with ya. DJ Rashad used to make trips to hang out with Godfather & Benzi all the time, so comin out to hang with you shouldn’t be a problem.

      Hit me back up! Haha

      BTW, I’ll talk to either DJ Technics, or DJ Tameil to post up somethin on BMore. While Tameil is technically more Jersey Club, he’s been involved with the BMore scene for so long that his insight is not that of an outsider.
      .-= Neema´s last blog ..Juke and Footworkin =-.

    • http://youtube.com/ghettotekz Neema

      oh yeah, when i wrote that, I was just extemely exhausted, so if it came out like I was callin you out or somethin, my bad! And I don’t know why in the hell I said there were some inaccuracies on the whole Ghetto-tech thing, your shit is on the point, haha. Yet again, the lack of sleep prevented me from re-reading my work, and slapping myself from saying stupid things.

      But yeah, the history of chicago is so damn secretive to the world, and I don’t really know why! I guess I can help explain things to people…hopefully, haha.
      .-= Neema´s last blog ..Juke and Footworkin =-.

  • http://www.djbennyben.com Benny Ben

    Neema,

    The education on the Chi-town side of things is greatly appreciated, because my experience has been greatly limited, having heard most of my favorite Chi-town classics on Detroit mixtpaes & mixshows circa 1991-1998 (belive me I got my “Dooky Boody” 12″ with “Get a Ho Wit a Job” on the flip). When I get home from work I’ll peep the videos too. I hope you check my mix out when it drops too because I think you’d enjoy the Chicago classics and the rest, if you’re anything like me!

    For sure there weere bound to be some inaccuracies, since I was just “break(ing) this down for you from my perspective as a fan.. this blog post… is not by any means a definitive history of the genre, just me playing and writing about the records I love.”

    hahah

    I made sure to put my disclaimer! So many more records, DJs, artists, etc to write about… couldn’t get them all in there at one time.

    Like I said , thanks for the insight, and to round things out… if I can get a Miami or B’more cat to post thier perspective that ‘ll be interesrting too!

    Peace
    .-= Benny Ben´s last blog ..Exclusive Interview with TheUrbanian.com =-.

    • http://youtube.com/ghettotekz Neema

      I’m definitely gonna check out your mixtape! Man, I know exactly the type of Detroit mixtapes you’re talkin about, because Assault, Mr. De, and yes, the underground king, DJ Maacos, are all gods to me! Detroit Ghettotech just ain’t Detroit tracks, it’s d n b, ghetto house, ghetto tech, jittin tracks, i’ve even been hearin some dubstep stuff lately, it’s awesome!

      Detroit is like a second home to me. And thats probably even a better place than Chicago to get Dancemania stuff, believe it or not! The people here who bought the stuff refuse to let it go while the people out there are more willin to throw it in the dollar bin pile, haha.

      But if you want, I can get you in contact with some of the guys who run juke out here in Chicago. I myself am starting my own juke label, as well as run a pretty popular footwork youtube page, youtube.com/ghettotekz, so we’d love to get shit together with ya. DJ Rashad used to make trips to hang out with Godfather & Benzi all the time, so comin out to hang with you shouldn’t be a problem.

      Hit me back up! Haha

      BTW, I’ll talk to either DJ Technics, or DJ Tameil to post up somethin on BMore. While Tameil is technically more Jersey Club, he’s been involved with the BMore scene for so long that his insight is not that of an outsider.
      .-= Neema´s last blog ..Juke and Footworkin =-.

    • http://youtube.com/ghettotekz Neema

      oh yeah, when i wrote that, I was just extemely exhausted, so if it came out like I was callin you out or somethin, my bad! And I don’t know why in the hell I said there were some inaccuracies on the whole Ghetto-tech thing, your shit is on the point, haha. Yet again, the lack of sleep prevented me from re-reading my work, and slapping myself from saying stupid things.

      But yeah, the history of chicago is so damn secretive to the world, and I don’t really know why! I guess I can help explain things to people…hopefully, haha.
      .-= Neema´s last blog ..Juke and Footworkin =-.

  • http://www.djbennyben.com DJ Benny Ben

    Neema,

    You’re all good with me. keep me posted next time you’re headed to town & we’ll link up.

    thanks!
    .-= DJ Benny Ben´s last blog ..Exclusive Interview with TheUrbanian.com =-.

  • http://www.djbennyben.com DJ Benny Ben

    Neema,

    You’re all good with me. keep me posted next time you’re headed to town & we’ll link up.

    thanks!
    .-= DJ Benny Ben´s last blog ..Exclusive Interview with TheUrbanian.com =-.

  • justin

    Benny Ben,

    Nice job, this is a great read. Brings me back to my early days shopping at Record Time. At the time I was avoiding the dance records next to my relatively tiny Hip-Hop section, but came around to appreciate the other music as I saw my heroes like Dez taking inspiration from both sides.

    It was also great to hear someone else mention Reggie Hotmix as an influence. Dude is to me what Mojo was to an earlier generation (see my 2002 shout-out on the end of the Family and Friends LP).

    • http://www.djbennyben.com DJ Benny Ben

      word, thanks sir. Reggie is the man!.. which Justin is this?

      • justin

        What’s up Benny Ben? This is Justin Bardic, formerly known as DJ 50Fifty ☺

        • http://www.djbennyben.com DJ Benny Ben

          my MAN! good to hear from you!

  • justin

    Benny Ben,

    Nice job, this is a great read. Brings me back to my early days shopping at Record Time. At the time I was avoiding the dance records next to my relatively tiny Hip-Hop section, but came around to appreciate the other music as I saw my heroes like Dez taking inspiration from both sides.

    It was also great to hear someone else mention Reggie Hotmix as an influence. Dude is to me what Mojo was to an earlier generation (see my 2002 shout-out on the end of the Family and Friends LP).

    • http://www.djbennyben.com DJ Benny Ben

      word, thanks sir. Reggie is the man!.. which Justin is this?

      • justin

        What’s up Benny Ben? This is Justin Bardic, formerly known as DJ 50Fifty ☺

        • http://www.djbennyben.com DJ Benny Ben

          my MAN! good to hear from you!

  • http://numarkdjmixer.com/ Numark DJ Mixer

    I had no idea there was such a vavst history to the Detroit scene. I love that there are people like you guys who are not only DJ’s making great innovative music, but are also historians of your local scene.

    I hope you keep churning out more posts like this.

    And Neema maybe you should be the next guest blogger!

    • http://www.djbennyben.com DJ Benny Ben

      thanks Numark. I appreciatre the love from a reputable manufacturer such as yourself!

  • http://numarkdjmixer.com/ Numark DJ Mixer

    I had no idea there was such a vavst history to the Detroit scene. I love that there are people like you guys who are not only DJ’s making great innovative music, but are also historians of your local scene.

    I hope you keep churning out more posts like this.

    And Neema maybe you should be the next guest blogger!

    • http://www.djbennyben.com DJ Benny Ben

      thanks Numark. I appreciatre the love from a reputable manufacturer such as yourself!

  • Bombscare

    Scratch D from Dynamix II is touching down in Detroit, September 4th at Northern Lights. come get your Miami bass on.

  • Pingback: In the Club and On the Streets: Random Facts (or How to Make Booty Music Nerdy) « Benny Ben’s World

  • Fivershutch

    I’ve been looking for a track that used to be heard in some of those old Detroit booty mixes. In fact it can be found as track #18 on DJ Godfather’s Da Bomb Vol. 3. It’s just listed as “let’s ride”. It features a sample of Cybotron’s “Clear” and keeps saying “move this sh!t this way and roll with it, roll with it. C’mon girl. Take that chance. Ghetto style” over and over again. I also have the track in an old 1998 DJ Zap mix from Detroit.
    any leads would be much appreciated!  

  • eze97

    does anybody have this mux cd its called booty king 97, I cant find it anywhere