back to basic

in a recent review, critic kelefa sanneh obeserved how “a generation of young people have grown up swaying in time to the genre's uniform (but surprisingly flexible) four-on-the-floor beat ” since house music’s inception in chicago in the mid-80s.

i know many people who would not agree with that claim, especially the “surprisingly flexible” part. for instance, many hip hop heads are constitutionally allergic to 4-on-the-floor beat, or so i'm told. i’ve heard everything from “rigid” to “boring” when describing the rhythm that moves goosesteppin’ soldiers and club revelers alike.

it’s all nonsense of course. admittedly, i was wasn’t a big disco fan during the height of its popularity (i was immersed in heavy metal guitar solos at the time), but i’ve learned to appreciate the simple freedom 4-on-the-floor offers to anybody with even an inkling of a tune.

when i first moved to new york, i made weekly excursions to st. mark sounds, a popular downtown used music emporium. back then sounds carried more lps than cds, and i enjoyed getting schooled by its crew of east village-type clerks, especially blinky. he was in a band. i don't remember its name but i do remember the voice saying some nice stuff about the punky, grungy rock it played. anyway, one day he came up to me waving a 12”. "it's great" he said, “it barely qualifies as music.”

to this day, “face it” by master c+j (state street) is still one of my favorite records. there is a timelessness about it; it wouldn't be out of place in a contemporary afterhours set. with a spare yet deep production (courtesy of house pioneer jessie jones) and moody disembodied vocals (feat. liz torres), it is more a feeling than a song.

but the point is, i can’t really imagine this track working with any other beat. the hypnotic bassline, for example, finds a special balance of tension and play in and around the simple yet reliable kick pattern. while the spoken words narrative is more rhythmically adept, it couldn't find a more sympathetic partner for its laid-back and slightly creepy delivery than the steady 4-on-the-floor.

it is more a pulse than a beat because it is deeply moving and wholly functional. it's always there taking care of business but doesn't jam up the works. the 4-on-the-floor simply keeps things moving so even odd bits that “barely qualifies as music” can leave a lasting impression.

Posted by cellpharmer at August 20, 2004 09:21 AM