Did you realize this sample was used as often as it was? What was your favorite use of the sample? If you enjoy content like this and want to see more check out my "Music Sample Origins" playlist where I dive into some popular music samples and their origins: ruclips.net/p/PLj1pr5VqyRkfhvEUk5Y1kRozYZ13cTK1J or Check out the "From Pen to Mic" playlist, where we uncover the hidden songwriters behind some of your favorite songs: ruclips.net/p/PLj1pr5VqyRkekwCbGcIMyOm7Dl7v_rcYH As always, thank you so much for watching! 😊 Don't forget to LIKE and SUBSCRIBE for more fun and interesting content.
This is a great commentary on this iconic songs and how the sampling and interpolation has become a staple of modern music. I wonder if this is the most sampled Reggae song? However, it should be noted that Sister Nancy's Bam Bam doesn't use any samples: it is a "version", which is a Jamaican practice of recording a new song over an existing riddim (instrumental tracks). This stems from the sound system culture where MCs (deejays) and singers would perform their songs live over a popular or classic riddim. Still, it is great that Sister Nancy is getting her flowers now.... and her royalties.
Stalag created by Winston Riley in 1973, Ansell Collins cam with his version during the early 1980s, itself represented what happened in the second world war, because during the early times of reggae many producers would write or name rhythms after certain events or countries and rulers . Such as a rhythm called FU-MANCHU after the Film . No different from the Joe Frazier Rythym, dedicated to the Boxer by the same name .
Remember first hearing Sister Nancy DJing on Leeds Unlimited Hi Fi in the 80's,Red Hills Rd Kingston,shout out to her brother Brigadier Jerry,one of Dancehalls greatest DJ's.
This issue of royalty for this rhythm has a lot of twists and turns. So, the producer of the "Stalag 17" is Winston Riley. The band that created the Stalag rhythm was the Soul Syndicate Band back in the early 70s. The names that are often mentioned are Riley the producer and Ansel Collins, who played keyboard at the time of the recording. The real UNSUNG HERO In this never-ending saga is the bass player named George "Fully" Fullwood. He was the creator of the bassline which is the nucleus of the song. And he almost never gets any credit for creating THE GREATEST REGGAE RHYTHM in Jamaica's history. Shortly after its release in '73, Big Youth did the first sampling of Stalag 17, called "Jim Screechy" around 1976. Was a big hit at the time. And then in the 80s we had "Arleen" by General Echo, "Ring the Alarm" by the late Tenor Saw and of course Bam Bam by Sister Nancy. So, while Sister Nancy may have written the lyrics - and deserve recognition and compensation - She clearly DID NOT create the music. And as for Ansel Collins, his name is most associated with Stalag 17, but the true genius in my opinion is "Fully Fullwood", the creator of the bassline. I'm just a little curious to know how much royalty (if any) Sister Nancy paid to the producer of the Stalag 17 tune.
Love, Honor and Respect to Sister Nancy for singing and incredible song. However, I have gave number one credit to the Musican the one who created the beats or the riddims. In fact, that is the only reasons why Reggae and Dancehall Music are my favorite Music Genre on the entire planet. The Drum & Bass with is the Heart Beat in Reggae and Dancehall Music. People said it was the Rif in the guitar that made Reggae and Dancehall Music Unique but it was more than that. There is only One Instruments that dominates every Culture in the World and thats the Drums.
While Sister Nancy is certainly entitled to her share (prob 50% in this case) of the publishing, under Jamaican copyright law, she would not necessarily have been entitled to any royalties from exploitation of the master, unless a specific agreement was in place to that effect. Furthermore, by her own admission, the chorus is based on Yellowman's version (which is in turn based on Toots' version). Toots' publisher could make the case that hers is a derivative work (used w/o permission) and claim all of the publishing for themselves.
Even though most people who are not into reggae music will know this sample, Sister Nancy’s record was not the original song recorded on this track. The original track was called Stalag 17 and was recoded by Ansel Collins - you can hear it here ruclips.net/video/VR6kZRgw5lg/видео.htmlsi=W0fnuR7-prGeEZ9o . This backing track is one of the most versioned in reggae music history. There have been literally hundreds of reggae records cut using this backing track - Sister Nancy’s track was just one of many, and was nowhere near being the first.
Black American music heavily influenced reggae, dancehall and many other music genres globally. Check out rosco gordon's song no more doggin thats where the jamaican rhythm came from.
This is not accurate at all. "The Jamaican rhythm" comes from Africa. With all due respect to black American culture, we Jamaicans give recognition to the mother land for our music. Don't follow our oppressors by removing that acknowledgement. Africa is the beginning.
@@michellewilliams5533 you are wrong and dont know the history of jamaican music. Type this in to start "jamaican music pioneers teach how they copied us". The information is all over youtube and the clock app
Respectfully, this is an oversimplification of the matter. Rocksteady was heavily influenced by American R&B, there were a number of rocksteady musicians who began their careers doing covers of underutilized blues tunes. Reggae is another matter, as reggae musicians, many of whom were Rastafarians looked away from America and Britain (where many rocksteady songs were recorded as the U.K. had a significant Jamaican diaspora by the late 40s, early 1950s and 1960s) and turned to Africa as a cultural and ancestral touchstone. Those heavy percussive influences (see: Kette drums) are homages to their perception of African ancestry (although it was not purely African, after 400 years on an island with indigenous, African, and sigh, some European, Chinese-who were heavily involved in the Jamaican recording industry-and Indian cultural influences). And dub and dancehall grew out of that. In dub, you can also hear elements from the East (Indian music included). Even dancehall in the 1990s and early ‘00s, the Diwali riddim and the Arab riddim. A number of influences came from the East but reggae is an indigenous music, it is not mento which drew from Calypso, nor is it Rocksteady which drew from blues and very early R&B. The syncopation of American music is overwhelmingly on the downbeat. Reggae is always on the upbeat. Fundamental difference. Lyrics is one thing but the fundamental polyrhythm is what makes the music and they are fundamentally different. By the way, Smokey Robinson once said that his first hit song with Motown was inspired by what he referred to as tropical island music and the likes of Harry Belafonte who he admired. Belafonte sang repurposed Jamaican folk song that were softened to be more palatable to American audiences, who might not find the authentic Jamaican folk songs accessible. So the influences go both ways, my friend.
Did you realize this sample was used as often as it was? What was your favorite use of the sample?
If you enjoy content like this and want to see more check out my "Music Sample Origins" playlist where I dive into some popular music samples and their origins: ruclips.net/p/PLj1pr5VqyRkfhvEUk5Y1kRozYZ13cTK1J
or
Check out the "From Pen to Mic" playlist, where we uncover the hidden songwriters behind some of your favorite songs: ruclips.net/p/PLj1pr5VqyRkekwCbGcIMyOm7Dl7v_rcYH
As always, thank you so much for watching! 😊
Don't forget to LIKE and SUBSCRIBE for more fun and interesting content.
Harlem
Brooklyn Crooklyn
heavy rotation Sister Much respect !
This is a great commentary on this iconic songs and how the sampling and interpolation has become a staple of modern music. I wonder if this is the most sampled Reggae song?
However, it should be noted that Sister Nancy's Bam Bam doesn't use any samples: it is a "version", which is a Jamaican practice of recording a new song over an existing riddim (instrumental tracks). This stems from the sound system culture where MCs (deejays) and singers would perform their songs live over a popular or classic riddim.
Still, it is great that Sister Nancy is getting her flowers now.... and her royalties.
Excellent
Stalag created by Winston Riley in 1973, Ansell Collins cam with his version during the early 1980s, itself represented what happened in the second world war, because during the early times of reggae many producers would write or name rhythms after certain events or countries and rulers . Such as a rhythm called FU-MANCHU after the Film . No different from the Joe Frazier Rythym, dedicated to the Boxer by the same name .
Remember first hearing Sister Nancy DJing on Leeds Unlimited Hi Fi in the 80's,Red Hills Rd Kingston,shout out to her brother Brigadier Jerry,one of Dancehalls greatest DJ's.
This issue of royalty for this rhythm has a lot of twists and turns. So, the producer of the "Stalag 17" is Winston Riley. The band that created the Stalag rhythm was the Soul Syndicate Band back in the early 70s. The names that are often mentioned are Riley the producer and Ansel Collins, who played keyboard at the time of the recording. The real UNSUNG HERO In this never-ending saga is the bass player named George "Fully" Fullwood. He was the creator of the bassline which is the nucleus of the song. And he almost never gets any credit for creating THE GREATEST REGGAE RHYTHM in Jamaica's history. Shortly after its release in '73, Big Youth did the first sampling of Stalag 17, called "Jim Screechy" around 1976. Was a big hit at the time. And then in the 80s we had "Arleen" by General Echo, "Ring the Alarm" by the late Tenor Saw and of course Bam Bam by Sister Nancy. So, while Sister Nancy may have written the lyrics - and deserve recognition and compensation - She clearly DID NOT create the music. And as for Ansel Collins, his name is most associated with Stalag 17, but the true genius in my opinion is "Fully Fullwood", the creator of the bassline. I'm just a little curious to know how much royalty (if any) Sister Nancy paid to the producer of the Stalag 17 tune.
Thank you. Someone had the mention this because it is so weird how the originator of the Bam are being overlooked. It is a very troubling.
Love, Honor and Respect to Sister Nancy for singing and incredible song. However, I have gave number one credit to the Musican the one who created the beats or the riddims. In fact, that is the only reasons why Reggae and Dancehall Music are my favorite Music Genre on the entire planet. The Drum & Bass with is the Heart Beat in Reggae and Dancehall Music. People said it was the Rif in the guitar that made Reggae and Dancehall Music Unique but it was more than that. There is only One Instruments that dominates every Culture in the World and thats the Drums.
Great Content
Gonna check out the others
(First timer to your channel, I sub)
Welcome to the channel. Thanks for watching and subbing!
While Sister Nancy is certainly entitled to her share (prob 50% in this case) of the publishing, under Jamaican copyright law, she would not necessarily have been entitled to any royalties from exploitation of the master, unless a specific agreement was in place to that effect. Furthermore, by her own admission, the chorus is based on Yellowman's version (which is in turn based on Toots' version). Toots' publisher could make the case that hers is a derivative work (used w/o permission) and claim all of the publishing for themselves.
Yes, indeed. I find this video to be quite infuriating. It just ignores the obvious
Even though most people who are not into reggae music will know this sample, Sister Nancy’s record was not the original song recorded on this track. The original track was called Stalag 17 and was recoded by Ansel Collins - you can hear it here ruclips.net/video/VR6kZRgw5lg/видео.htmlsi=W0fnuR7-prGeEZ9o .
This backing track is one of the most versioned in reggae music history. There have been literally hundreds of reggae records cut using this backing track - Sister Nancy’s track was just one of many, and was nowhere near being the first.
With the big, bad stalag riddim… brrrrrraaappp!!
Saw her live. Gought kicked out nearly the end for smoking weed but heard bam bam 😊
🔥🔥
Now it’s barington levy
5:40 Vibes best issue. 150 essential albums
Kc and the sunshine band I get lifted absolutely the backbone of new jackswing....go check it out
THE BIG PAYBACK GOT LOTS OF SAMPLING TOO
Toots is still the best. Nancy second and King Yellow third
YELLOWMAN HAD 2 VERSIONS OF BAM BAM
Whosoever believeth in YAHUSHUA the messiah son of YAHWEH shall have ETERNAL LIFE
Ok
Oh shut up.
@@marcmarcello981 whosoever believeth in YAHUSHUA the messiah son of YAHWEH shall have ETERNAL LIFE
Black American music heavily influenced reggae, dancehall and many other music genres globally. Check out rosco gordon's song no more doggin thats where the jamaican rhythm came from.
This is not accurate at all. "The Jamaican rhythm" comes from Africa. With all due respect to black American culture, we Jamaicans give recognition to the mother land for our music. Don't follow our oppressors by removing that acknowledgement. Africa is the beginning.
@@michellewilliams5533 you are wrong and dont know the history of jamaican music. Type this in to start "jamaican music pioneers teach how they copied us". The information is all over youtube and the clock app
@@michellewilliams5533 we can say that black american music is an evil influence without creating a civil religion
Respectfully, this is an oversimplification of the matter. Rocksteady was heavily influenced by American R&B, there were a number of rocksteady musicians who began their careers doing covers of underutilized blues tunes. Reggae is another matter, as reggae musicians, many of whom were Rastafarians looked away from America and Britain (where many rocksteady songs were recorded as the U.K. had a significant Jamaican diaspora by the late 40s, early 1950s and 1960s) and turned to Africa as a cultural and ancestral touchstone. Those heavy percussive influences (see: Kette drums) are homages to their perception of African ancestry (although it was not purely African, after 400 years on an island with indigenous, African, and sigh, some European, Chinese-who were heavily involved in the Jamaican recording industry-and Indian cultural influences). And dub and dancehall grew out of that. In dub, you can also hear elements from the East (Indian music included). Even dancehall in the 1990s and early ‘00s, the Diwali riddim and the Arab riddim. A number of influences came from the East but reggae is an indigenous music, it is not mento which drew from Calypso, nor is it Rocksteady which drew from blues and very early R&B. The syncopation of American music is overwhelmingly on the downbeat. Reggae is always on the upbeat. Fundamental difference. Lyrics is one thing but the fundamental polyrhythm is what makes the music and they are fundamentally different.
By the way, Smokey Robinson once said that his first hit song with Motown was inspired by what he referred to as tropical island music and the likes of Harry Belafonte who he admired. Belafonte sang repurposed Jamaican folk song that were softened to be more palatable to American audiences, who might not find the authentic Jamaican folk songs accessible. So the influences go both ways, my friend.
@@MsAgentprovocateur10 Wise words.
I’m absolutely disgusted by this. Very shameful