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The tape era also gave birth to the first popular sound collage using other artists prerecorded material, a precursor to the modern mashup. Dickie Goodman and Bill Buchanan produced novelty records by splicing up snippets of popular music and interspersing them with their own voices, usually for comedic effect. These pieces were called break-in records, and their first success was called Flying Saucer, which was a huge hit in 1956. It spliced together parts from Orson Welles War of the Worlds with The Platters, Little Richard, Fats Domino, and Elvis Presley, among others, in the form of an interview. Goodman would ask questions of various people (and Martians), and the response would come back as a segment of a song. Although they may be obvious or trite to today s ears, these recordings were quite inventive and stimulating to the audiences at the time. The Music Publishers Protective Association complained loudly that Goodman and Buchanan had not cleared the borrowed material and accused them of 19 cases of copyright infringement. But mysteriously, the record companies never sued. A funny thing happened. Sales of the infringed works went up, not down! Flying Saucer didn t replace the audience s need for the borrowed material, but actually whetted their appetite. Some of the songs sampled in the piece actually had to be reissued to meet the resurgence in demand. Eventually, the record companies struck a deal with Goodman and Buchanan, and they each went on to create break-in records for years to come. In 1979, the Residents made an album called The Residents Radio Special. It contained a track called Beyond the Valley of a Day in the Life, which consisted entirely of Beatles samples. This is an early example of taking the Goodman-Buchanan concept one step further by completely eliminating any original elements.
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The concept of layering and combining different sounds was brought to maturity with magnetic tape, and is fundamental to mashup construction. It is discussed at length in 11.
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The concept of taking multiple songs recorded separately and making them seem like a single song got its start in the late 1960s. In a nightclub called Salvation Too, DJ Terry Noel replaced the usual rubber mat on top of his turntable with a felt mat. This allowed the turntable to continue spinning when the record was held still. While a different song was playing on the other turntable, he would then place the needle in the record groove right where a strong beat was located. When he released the record, it would rapidly accelerate to full speed, because the turntable had been rotating at normal speed underneath. He would wait for just the right moment in the already-playing song to start the new song. This practice is now called slip-cueing, and the crowd loved it. Noel progressed in his deejaying, and eventually allowed the first song to continue to play while the second song started in. There weren t finely adjustable variable-speed turntables back then, so he had to select records that had very similar tempos. This practice of playing two or more tracks simultaneously is known as beatmatching.
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Francis Grasso was a go-go dancer at the nightclub, and although he loved the slip-cueing and beatmatching, he was bothered by the unevenness that sometimes occurred. One night, when Noel failed to show up due to an acid trip (a different kind of ACID), Grasso was asked to deejay. He did a great job, got promoted to DJ, and eventually perfected the art of slip-cueing. He got some variable-speed turntables, so that the beatmatching could be much more flexible and maintain synchronization for longer periods. He also added headphones to the multiturntable setup, so if he was slip-cueing or beatmatching, he could monitor the new record and make sure it sounded right before his audience could hear it. Grasso is widely regarded as creating the modern practice of deejaying.
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Mashups are in many ways an extension of the practice Noel and Grasso began 40 years ago. Beatmatching is one of the most fundamental concepts in mashup construction and is covered in depth in s 7 and 9.
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