Don't really know who was first, so I've resolved to only speak on what I experienced. Pete DJ Jones is about 10 years older than I am. He, Maboya and Flowers were out there before me. Rocking the breaks with two records was around before me and I jumped on the scene in 73 during the summer at Riis Beach. There was QJ from Brooklyn, who was around from about a decade prior to me and who mixed with tapes - reel to reel tapes - and was quite good. Alot of his stuff was pre-mixed, but still good. We with the multiple turntables brought spontaneity into the equation. I think it was 1974 when I met Sedley B who became our voice (sounded just like Hank Spann) and in 1975 we included the "City Steppers." Pete who was from the Bronx had KC on the mike and then Flowers followed suite. Although we were competitors, we copied all the cool stuff from each other.
Regarding the Hip-Hop elements, I'd have to divide it into three categories; the mix, spoken word and dance.
ē Flowers was (IMHO) the best all around mixer of the mobile crews. He brought many of funk elements from both the R&B world and the Rock world (i.e. He was the first one I heard play the Mexican by Babe Ruth and mix it with James Brown), which caused me to expand my own horizons.
- The best technical mixer of the mobile crew was this young fella from Brooklyn named Gregg (donít remember his last name). He had just graduated from Eramus Hall HS and hung out in the gay clubs. The women and the better dancers (hustle in during those days) tended to follow him Ė they didnít feel threatened nor pressured to deal with a lot of drama. I donít know what ever happened to Gregg, though he wasnít on the mobile scene long. His dance crew began accompanying me from club to club, which is how I ran into Sedley B.
ē Sedley was the best rapper - sort of a combination of Baptist preacher, WWRL radio jock (i.e. Gary Byrd with Hank Spann voice) and since he was a dancer, he had an impeccable sense of timing.
ē The City Steppers (group of teenager hip-hop dancers complete with cardboard) were like gymnasts on steroids (just a metaphor).
The one thing Iím can look back on those days and be very proud of is that however we carried ourselves (lots of confidence) no one in our crew was into the drug scene.
I'll have to get back to you on the mixes. I haven't spun in years, although my signature break was to extend the James Brown Sex Machine Live cut and break into Love is the Message - MFSB where James says "Fellas do you want to hear it like you did on the top, Hit it now 1 2 3 4 -CUT-- into the break of Love is the Message" and then extend Love is the Message, alternating between the instrumental and vocal versions.
Much respect!!! and great post this & these acounts needs to come out///also Thank You so much 4 your contribution to this DJ thing we live in!!!
always learning more
(Ron frm Bx perspective of coarse lol)