開催終了ESG LIVE@UNIT 7/12, 13,14
詳細
2006年07月11日 01:36 更新
****STOP PRESS****
！！！！！！YES...
UNIT 2nd Anniversary
ESG Live at UNIT 3Days!!!
2006.7.12/13/14
ニューヨーク／サウス・ブロンクスの伝説、ESGがやってくる！
全てのアンダーグラウンド・ミュージックに計り知れない影響を与えたバンド、ESG衝撃の初来日公演決定！！！！！！！
2006年7月、2周年を迎える代官山UNITがお送りするスペシャル・プログラム、ESG Live at UNIT 3Days!!!
2005年の1stアニバーサリーでは、James Chance&The Contortionsの奇跡の初来日3Days、AFRICA BAMBAATAA、Death Comet Crew、Meat Beat Manifesto等々といった驚愕のプログラムを送り出したUNITが次に送るのは、80年代から続くサウス・ブロンクスの伝説、ゴッドマザー・オブ・ストリートミュージック、ESGの初来日3Days公演!! そして！日本からESGを敬愛してやまないアーティスト／DJ達がサポートアクトとして続々参加予定！
この奇跡のコラボレーションは今年絶対に見逃せない事件である!!!
7.12(wed) Day1 open18:00 / start19:00
Live: ESG and more Band (Sly Mongoose, Little Creatures)!
7.13(thu) Day2 open18:00 / start19:00
Live: ESG and more Band (OOIOO, BD, IF U KNOW WHO I MEAN)!
7.14(fri) Final Party -deAthdisko- open/start22:00
Live: ESG and more DJs! (Kenji Hasegawa, DJ Toru Takahashi & MORE)!
ESGとは...
E（エメラルド）S（サファイヤ）G（ゴールド）の略という何とも女性的な名前の由来を持つESGは、The ClashやP.I.L.、Gang of Fourとステージ共にする一方、グランド・マスターフラッシュとも競演。マンチェスターの伝説的なクラブ、ハシエンダのオープニングに出演しつつ、パラダイス・ガラージの閉店イヴェントではラリー・レヴァンに招かれプレイしたというキャリアを持つ、New Yorkの伝説的なバンド。彼女らの名曲”Moody”や”UFO”は、パラダイス・ガラージ（ラリー・レヴァン）、ギャラリー（ニッキー・シアノ）、ウェアハウス（フランキー・ナックルス）、ミュージック・ボックス（ロン・ハーディー）等の伝説的なクラブのオールタイム・クラシックスのトップ50リストに入り、80年代半ばのハウス・ミュージックの祖型となったばかりでなく、45回転のトラックだった"UFO"は、名高い Ultimate Breaks And Beats シリーズに33回転でカットされ、パブリック・エナミー、LLクールJ、マーリー・マール、ビースティー・ボーイズ、グランドマスター・フラッシュといったヒップホップのオリジネーター達がこぞってサンプルしている。これらのエピソードからわかるように、ESGはハウス／テクノ／ヒップホップ／ニュー・ウェーブ／ダブの誕生に立ち会いつつ、それらを育んだ母なるバンドである。ESGが現在のミュージックシーンに与えた影響は計り知れない。最近ではイギリスのソウル・ジャズ・レコードから音源をリリースし、ロンドンでアンディー・ウェザーオールと共に共演したり、デトロイト・エレクトロニック・ミュージック・フェスティヴルにも出演を果たすなど、現在も現役で活動を続けている。
※料金：前売5,000円/ 当日5,500円(共にドリンク代別途- 7.14はドリンク代無し)
※チケット取り扱い場所：チケットぴあ/ローソンチケット/e＋/excite/UNICE/LOS APSON?/JET SET下北沢店/WARSZAWA/岩盤/Bonjour Records代官山店/Onsa/WE
NOD/CISCO HOUSE/diskunion 渋谷CLUB MUSIC SHOP/diskunion 新宿CLUB MUSIC SHOP (5/18 on sale)
※問い合わせ：UNIT 03-5459-8630 www.unit-tokyo.com
WHO R
Emerald Safire Gold?
The story of ESG is one that gives them a place in three different musical histories ﾐ House music, Hip-Hop and Punk. A unique position, to which no other band can rightfully claim. Their first single summed this up perfectly: ﾒMoodyﾓ soon became a classic prototype early House track in New Yorkﾕs thriving underground Disco scene after itﾕs release in 1981. The B-side, ﾒUFOﾓ became one of the most sampled tracks in the history of Hip-Hop. The single was produced by Martin Hannett and initially released on Manchesterﾕs Factory Records, reflecting the beginning of a point in time when Punk groups in England such as A Certain Ratio and New Order were becoming interested in Black America dance music.
ESG hail from the South Bronx and began as four sisters (Renee, Valerie, Marie and Deborah Scroggins) forming a group encouraged by their Mother, who thought music was a good way to keep them out of trouble whilst growing up.
The band went through several name changes before adopting a name based around the bithstones of the sisters. Eventually Emerald (Valerie), Sapphire (Renee) and Amethyst (Deborah) became Emerald, Sapphire and Gold. As Renee say’s “because we wanted to make Gold records!”
“Our Mother, Helen, bought us instruments to keep us out of trouble. We loved James Brown, we loved rhythm and we didn’t have a lot of money back then (when they were in their early teens). So we bought all kinds of percussion instruments”.
With the addition of neibourhood friend Tito Libran on congas, the band name was shortened to ESG. The original line-up was Renee (lead vocals and guitar), Valerie (drums), Marie (congas and vocals), Deborah (bass and vocals) and Tito (congas).
“In the mid-70’s we were young girls growing up in the projects. It was pretty rough around that time and a lot of girls were getting into trouble, or getting pregnant. My mother, who was an office clerk, knew we wanted instruments. It was a struggle for her but she managed to scrape up enough cash to buy them for us. It kept us busy and off those wild streets. While the other kids were hanging out we were at home creating new music”.
The story of ESG begins at this time when, as a group of teenagers, they entered a talent show in New York. They didn’t win but one of the judges, Ed Bahlam, had thought them incredible and would become their manager/producer.
Shortly afterwards, ESG found themselves booked to open a gig for A Certain Ratio, who were in New York to record their “To Each” LP for Factory Records. Tony Wilson, who ran Factory records, saw the gig and was suitably impressed with ESG to offer to release a single by them. Three tracks “Moody”, “You’re No Good” and “UFO” were recorded in New York and then mixed and produced by Martin Hannett in Manchester. Martin Hannett, who was producing many of the Factory artists such as Joy Division, Durutti Column and New Order gave the music a very sparse raw sound that suited the music perfectly, a sound that the band has kept to this day. The three songs were released a 7” single by Factory in 1981.
These three tracks would later be released by Ed Bahlman in the USA along with some tracks that had been recorded live at Hurrah’s nightclub in New York. Ed Bahlman was the owner of 99 Records, a record label and shop based in Greenwich Village. Loosely based on the philosophy and style of England’s Rough Trade Records, the shop cultivated a growing amount of regular visitors, which became the starting point for many of the bands on the label. Ed Bahlman, and the label, also began to have a working relationship with some of the English labels that he admired. Consequently, 99 Records would put out in the US some of the music that was being released on English independent labels such as Rough Trade, Factory and Adrian Sherwood’s On-U Sound.
Alongside these releases Ed Bahlman was cultivating a relationship with some of New York’s avant-garde musicians such as Glenn Branca, who also began to get released on 99 Records.
This is the environment in which ESG found themselves at the beginning of the 1980’s and it is from this starting point that the importance of the band can truly be seen. ESG were courted by the established punk/new wave community. They were flown in to play the opening night of Factory’s Hacienda in Manchester.
In New York they also found themselves popular in the dance world. “Moody” is listed in the top fifty all time classic tracks in the following New York clubs: Paradise Garage; The Gallery; The Warehouse; The Music Box and The Roxy! Larry Levan got them to play the closing night of the Paradise Garage (where bands hardly ever played live). During one week long booking ESG played alongside Grandmaster Flash and The Clash on the same bill.
At the heart of Hip-Hop is the break. As Renee states ﾒIﾕd turn on the Rap hour and Iﾕd hear this continuous thing where ﾒUFOﾓ was going on and on in everybodyﾕs recordﾓ. And it was! Public Enemy, Big Daddy Kane, 3rd Bass, LL Cool J, Marley Marl, Doug E Fresh ﾐ everyone sampled ESG. The sparce drum and bass sound and distinctive vocals made ESG one of the most sampled groups ever. The distinctive intro to ﾒUFOﾓ was endlessly used. Slowed down to 33rpm on the infamous Ultimate Breakbeats series ﾒUFOﾓ is the most widely sampled of ESGﾕs tracks. At the start of Hip-Hop the laws on sampling were unclear. Aided by supporter, turned manager, Carole Cooper ESG have spent much of the last ten years trying to collect their dues. In 1993 they released a single with a wry comment on the subject: ﾒSample Credits Donﾕt Pay Our Billsﾓ.
In 1983 ESG released their first full LP “Come Away With ESG”. Originally released on 99 Records and produced by Ed Bahlman, the record included ten new songs as well as a new version of “Moody”. It was around this time, however, that 99 Records’ trouble began. Bahlman had signed a group called Liquid Liquid to the label. A group with a punk attitude as well as an interest in dance music, the groups leader Richard MacGuire had been attracted to the label partly on account of his admiration for ESG. These two groups would eventually spearhead a movement that became known a No Wave, made up primarily of New York new wave groups that included Liquid Liquid, Konk and DNA who all aspired to dance music.
99 Records released a track by Liquid Liquid called “Optimo/Cavern” which was then sampled by Grandmaster Flash for his hit “White Lines” which was released on Sugarhill Records. 99 Records took Sugarhill to court. After an expensive lawsuit 99 Records was awarded compensation. However, before they could collect Sugarhill went into receivership. This, unsurprisingly, left Ed Bahlman with no wish, or money, to carry on with the label and 99 Records came to a close.
The fact that ESG had been managed by Bahlman as well as being on 99 Records, effectively put a temporary halt to their career. It would be a few years before they would record again. Their records continued to be played in the clubs during this period by many supporters, especially House DJ’s such as Larry Levan at the Paradise Garage. In 1991 they released an album on a small independent label Pow Wow. This LP included new tracks such as “Erase You”. The band continued to tour and play live, keeping to the same sparce minimal sound that has become their trademark. In the 1990’s ESG released a live album on Nega Fulo Records, a label started by Carole Cooper. These small independent releases were not able to sustain the amount of attention that the earlier releases and went relatively unnoticed. The group kept to the same standards, however, and these recordings (especially the Pow Wow Records release “ESG”) stand up alongside their more well known releases.
Today the line-up of ESG includes Renee’s daughter Nicole on bass and Valerie’s daughter Chistelle on guitar, making it a full house for the Scroggins family.
hangouter ken's current hip chart 6/06
1. code e: algorithm method (mule electronic)
2. Ron Trent Presents presents Cinematic Travels: Ancient Future (Prescription/ Future Vision/ Villege Again)
3. as one: planetary folklore 2 (archive)
4. frankie valentine: world of what? (sunshine enterprises)
5. poni hoax album (tigersushi) produced by joakim
6. sasse: made within the upper stairs of heaven (moodmusic)
7. lsd sound system: too much love (rub'n tug remix)(dfa)
thanks to taro@sleeping bugs! cheers, mate!
8. Sono-Sono: hyperballad (yesternow recording co.)
9. kayot: clear sky (mano & francois a remix) (buzzin' fly)
10. john tejada: mono on mono remixes marina motel remix by plaid (palette recordings)
11. marc mac presents visioneers: dirtyoldhiphop (bbe)
12. jesse rose presents more than one lp sampler 2 (frontroom recordings)
13. tres demented (planet-e)
14. rhythm & sound: poor people must work (carl craig remix) (rhythm & sound)
15. gil-scott heron & brian jackson: angola louisiana(arista)
16. alton miller new album
well done 4 reading between the lines and reading til this point of nomad, musical return............
from hangouter spe
！！！！！！YES...
UNIT 2nd Anniversary
ESG Live at UNIT 3Days!!!
2006.7.12/13/14
ニューヨーク／サウス・ブロンクスの伝説、ESGがやってくる！
全てのアンダーグラウンド・ミュージックに計り知れない影響を与えたバンド、ESG衝撃の初来日公演決定！！！！！！！
2006年7月、2周年を迎える代官山UNITがお送りするスペシャル・プログラム、ESG Live at UNIT 3Days!!!
2005年の1stアニバーサリーでは、James Chance&The Contortionsの奇跡の初来日3Days、AFRICA BAMBAATAA、Death Comet Crew、Meat Beat Manifesto等々といった驚愕のプログラムを送り出したUNITが次に送るのは、80年代から続くサウス・ブロンクスの伝説、ゴッドマザー・オブ・ストリートミュージック、ESGの初来日3Days公演!! そして！日本からESGを敬愛してやまないアーティスト／DJ達がサポートアクトとして続々参加予定！
この奇跡のコラボレーションは今年絶対に見逃せない事件である!!!
7.12(wed) Day1 open18:00 / start19:00
Live: ESG and more Band (Sly Mongoose, Little Creatures)!
7.13(thu) Day2 open18:00 / start19:00
Live: ESG and more Band (OOIOO, BD, IF U KNOW WHO I MEAN)!
7.14(fri) Final Party -deAthdisko- open/start22:00
Live: ESG and more DJs! (Kenji Hasegawa, DJ Toru Takahashi & MORE)!
ESGとは...
E（エメラルド）S（サファイヤ）G（ゴールド）の略という何とも女性的な名前の由来を持つESGは、The ClashやP.I.L.、Gang of Fourとステージ共にする一方、グランド・マスターフラッシュとも競演。マンチェスターの伝説的なクラブ、ハシエンダのオープニングに出演しつつ、パラダイス・ガラージの閉店イヴェントではラリー・レヴァンに招かれプレイしたというキャリアを持つ、New Yorkの伝説的なバンド。彼女らの名曲”Moody”や”UFO”は、パラダイス・ガラージ（ラリー・レヴァン）、ギャラリー（ニッキー・シアノ）、ウェアハウス（フランキー・ナックルス）、ミュージック・ボックス（ロン・ハーディー）等の伝説的なクラブのオールタイム・クラシックスのトップ50リストに入り、80年代半ばのハウス・ミュージックの祖型となったばかりでなく、45回転のトラックだった"UFO"は、名高い Ultimate Breaks And Beats シリーズに33回転でカットされ、パブリック・エナミー、LLクールJ、マーリー・マール、ビースティー・ボーイズ、グランドマスター・フラッシュといったヒップホップのオリジネーター達がこぞってサンプルしている。これらのエピソードからわかるように、ESGはハウス／テクノ／ヒップホップ／ニュー・ウェーブ／ダブの誕生に立ち会いつつ、それらを育んだ母なるバンドである。ESGが現在のミュージックシーンに与えた影響は計り知れない。最近ではイギリスのソウル・ジャズ・レコードから音源をリリースし、ロンドンでアンディー・ウェザーオールと共に共演したり、デトロイト・エレクトロニック・ミュージック・フェスティヴルにも出演を果たすなど、現在も現役で活動を続けている。
※料金：前売5,000円/ 当日5,500円(共にドリンク代別途- 7.14はドリンク代無し)
※チケット取り扱い場所：チケットぴあ/ローソンチケット/e＋/excite/UNICE/LOS APSON?/JET SET下北沢店/WARSZAWA/岩盤/Bonjour Records代官山店/Onsa/WE
NOD/CISCO HOUSE/diskunion 渋谷CLUB MUSIC SHOP/diskunion 新宿CLUB MUSIC SHOP (5/18 on sale)
※問い合わせ：UNIT 03-5459-8630 www.unit-tokyo.com
WHO R
Emerald Safire Gold?
The story of ESG is one that gives them a place in three different musical histories ﾐ House music, Hip-Hop and Punk. A unique position, to which no other band can rightfully claim. Their first single summed this up perfectly: ﾒMoodyﾓ soon became a classic prototype early House track in New Yorkﾕs thriving underground Disco scene after itﾕs release in 1981. The B-side, ﾒUFOﾓ became one of the most sampled tracks in the history of Hip-Hop. The single was produced by Martin Hannett and initially released on Manchesterﾕs Factory Records, reflecting the beginning of a point in time when Punk groups in England such as A Certain Ratio and New Order were becoming interested in Black America dance music.
ESG hail from the South Bronx and began as four sisters (Renee, Valerie, Marie and Deborah Scroggins) forming a group encouraged by their Mother, who thought music was a good way to keep them out of trouble whilst growing up.
The band went through several name changes before adopting a name based around the bithstones of the sisters. Eventually Emerald (Valerie), Sapphire (Renee) and Amethyst (Deborah) became Emerald, Sapphire and Gold. As Renee say’s “because we wanted to make Gold records!”
“Our Mother, Helen, bought us instruments to keep us out of trouble. We loved James Brown, we loved rhythm and we didn’t have a lot of money back then (when they were in their early teens). So we bought all kinds of percussion instruments”.
With the addition of neibourhood friend Tito Libran on congas, the band name was shortened to ESG. The original line-up was Renee (lead vocals and guitar), Valerie (drums), Marie (congas and vocals), Deborah (bass and vocals) and Tito (congas).
“In the mid-70’s we were young girls growing up in the projects. It was pretty rough around that time and a lot of girls were getting into trouble, or getting pregnant. My mother, who was an office clerk, knew we wanted instruments. It was a struggle for her but she managed to scrape up enough cash to buy them for us. It kept us busy and off those wild streets. While the other kids were hanging out we were at home creating new music”.
The story of ESG begins at this time when, as a group of teenagers, they entered a talent show in New York. They didn’t win but one of the judges, Ed Bahlam, had thought them incredible and would become their manager/producer.
Shortly afterwards, ESG found themselves booked to open a gig for A Certain Ratio, who were in New York to record their “To Each” LP for Factory Records. Tony Wilson, who ran Factory records, saw the gig and was suitably impressed with ESG to offer to release a single by them. Three tracks “Moody”, “You’re No Good” and “UFO” were recorded in New York and then mixed and produced by Martin Hannett in Manchester. Martin Hannett, who was producing many of the Factory artists such as Joy Division, Durutti Column and New Order gave the music a very sparse raw sound that suited the music perfectly, a sound that the band has kept to this day. The three songs were released a 7” single by Factory in 1981.
These three tracks would later be released by Ed Bahlman in the USA along with some tracks that had been recorded live at Hurrah’s nightclub in New York. Ed Bahlman was the owner of 99 Records, a record label and shop based in Greenwich Village. Loosely based on the philosophy and style of England’s Rough Trade Records, the shop cultivated a growing amount of regular visitors, which became the starting point for many of the bands on the label. Ed Bahlman, and the label, also began to have a working relationship with some of the English labels that he admired. Consequently, 99 Records would put out in the US some of the music that was being released on English independent labels such as Rough Trade, Factory and Adrian Sherwood’s On-U Sound.
Alongside these releases Ed Bahlman was cultivating a relationship with some of New York’s avant-garde musicians such as Glenn Branca, who also began to get released on 99 Records.
This is the environment in which ESG found themselves at the beginning of the 1980’s and it is from this starting point that the importance of the band can truly be seen. ESG were courted by the established punk/new wave community. They were flown in to play the opening night of Factory’s Hacienda in Manchester.
In New York they also found themselves popular in the dance world. “Moody” is listed in the top fifty all time classic tracks in the following New York clubs: Paradise Garage; The Gallery; The Warehouse; The Music Box and The Roxy! Larry Levan got them to play the closing night of the Paradise Garage (where bands hardly ever played live). During one week long booking ESG played alongside Grandmaster Flash and The Clash on the same bill.
At the heart of Hip-Hop is the break. As Renee states ﾒIﾕd turn on the Rap hour and Iﾕd hear this continuous thing where ﾒUFOﾓ was going on and on in everybodyﾕs recordﾓ. And it was! Public Enemy, Big Daddy Kane, 3rd Bass, LL Cool J, Marley Marl, Doug E Fresh ﾐ everyone sampled ESG. The sparce drum and bass sound and distinctive vocals made ESG one of the most sampled groups ever. The distinctive intro to ﾒUFOﾓ was endlessly used. Slowed down to 33rpm on the infamous Ultimate Breakbeats series ﾒUFOﾓ is the most widely sampled of ESGﾕs tracks. At the start of Hip-Hop the laws on sampling were unclear. Aided by supporter, turned manager, Carole Cooper ESG have spent much of the last ten years trying to collect their dues. In 1993 they released a single with a wry comment on the subject: ﾒSample Credits Donﾕt Pay Our Billsﾓ.
In 1983 ESG released their first full LP “Come Away With ESG”. Originally released on 99 Records and produced by Ed Bahlman, the record included ten new songs as well as a new version of “Moody”. It was around this time, however, that 99 Records’ trouble began. Bahlman had signed a group called Liquid Liquid to the label. A group with a punk attitude as well as an interest in dance music, the groups leader Richard MacGuire had been attracted to the label partly on account of his admiration for ESG. These two groups would eventually spearhead a movement that became known a No Wave, made up primarily of New York new wave groups that included Liquid Liquid, Konk and DNA who all aspired to dance music.
99 Records released a track by Liquid Liquid called “Optimo/Cavern” which was then sampled by Grandmaster Flash for his hit “White Lines” which was released on Sugarhill Records. 99 Records took Sugarhill to court. After an expensive lawsuit 99 Records was awarded compensation. However, before they could collect Sugarhill went into receivership. This, unsurprisingly, left Ed Bahlman with no wish, or money, to carry on with the label and 99 Records came to a close.
The fact that ESG had been managed by Bahlman as well as being on 99 Records, effectively put a temporary halt to their career. It would be a few years before they would record again. Their records continued to be played in the clubs during this period by many supporters, especially House DJ’s such as Larry Levan at the Paradise Garage. In 1991 they released an album on a small independent label Pow Wow. This LP included new tracks such as “Erase You”. The band continued to tour and play live, keeping to the same sparce minimal sound that has become their trademark. In the 1990’s ESG released a live album on Nega Fulo Records, a label started by Carole Cooper. These small independent releases were not able to sustain the amount of attention that the earlier releases and went relatively unnoticed. The group kept to the same standards, however, and these recordings (especially the Pow Wow Records release “ESG”) stand up alongside their more well known releases.
Today the line-up of ESG includes Renee’s daughter Nicole on bass and Valerie’s daughter Chistelle on guitar, making it a full house for the Scroggins family.
hangouter ken's current hip chart 6/06
1. code e: algorithm method (mule electronic)
2. Ron Trent Presents presents Cinematic Travels: Ancient Future (Prescription/ Future Vision/ Villege Again)
3. as one: planetary folklore 2 (archive)
4. frankie valentine: world of what? (sunshine enterprises)
5. poni hoax album (tigersushi) produced by joakim
6. sasse: made within the upper stairs of heaven (moodmusic)
7. lsd sound system: too much love (rub'n tug remix)(dfa)
thanks to taro@sleeping bugs! cheers, mate!
8. Sono-Sono: hyperballad (yesternow recording co.)
9. kayot: clear sky (mano & francois a remix) (buzzin' fly)
10. john tejada: mono on mono remixes marina motel remix by plaid (palette recordings)
11. marc mac presents visioneers: dirtyoldhiphop (bbe)
12. jesse rose presents more than one lp sampler 2 (frontroom recordings)
13. tres demented (planet-e)
14. rhythm & sound: poor people must work (carl craig remix) (rhythm & sound)
15. gil-scott heron & brian jackson: angola louisiana(arista)
16. alton miller new album
well done 4 reading between the lines and reading til this point of nomad, musical return............
from hangouter spe
困ったときには
