Miami Gets Put On the Musical Map

In the late 1940's, music industry entrepreneur Henry Stone set up shop in South Florida, where he founded a recording studio, two music publishing companies, a number of assorted record labels in the region, and one of the most powerful distribution companies in the world. This was the genesis of Miami's contribution to the industry of Black music, as there were no others to do this before him in this region. Early on, most of the recordings he dealt with were Doo-Wop, R&B, and Blues, but as the 60's dawned, there became a notable Florida Soul sound within his camp, due to his ever-growing entourage that included teen-idol turned label mogul Steve Alaimo, and Soul singer/songwriter                   
Clarence Reid. During the 70's, a strong Bahamian influence found its way into many of his artists' work, and the Junkanoo-Soul hybrid that came to be founded one of the
cornerstones of the pre-electronic Disco sound; a sound Stone's TK Records
is credited with helping form. Due to Stone's success and Criteria Studios
becoming a mecca for the major labels to record from, Miami became one of
the music capitals of the world. After TK grew to astonishing heights with
the triumph of KC & The Sunshine Band, the end of the Disco era would
fragment Stone's empire, and the shards that continued would have to
individually rebuild into new, separate entities. The new industry cogs
scurried for new hit songs to recreate Miami's past chart success. This is
the sole reason Miami Bass existed.

The Birth of Electro and Miami's Response

After the towering success of George Clinton's Sci-Fi themed work in the
70's, the adoption of German Kraut experimentalists "Kraftwerk" by the New
York Hip-Hop DJ culture became a barometer of Black music's audience
appetite for robotic themes. The early 80's saw this dominate Soul, Funk,
Rap, and Dance music's palette, much with the aid of E-Mu's Emulator
sampler and inexpensive drum machines. South Florida was no exception, as
area producers such as Pretty Tony, DXJ, Larry Dermer, Freddy Stonewall,
Michael Sterling, Eugene Cooper, Noel Williams, and Dwayne Omarr joined
the movement now termed Electro. Many of these producers created backing
tracks for Clarence Reid's X-Rated alias, "Blowfly", who also was reborn
an Electro artist -- although purely for comedic value. Blowfly would be
cited as inspiration for the later exploits of 2 Live Crew, and their

Proto-Bass: Sustaining the 808

If Arthur Baker is credited with introducing Roland's TR-808 drum machine
to the Hip-Hop lexicon via "Planet Rock" in 1982, then it must be noted
that it was the NY team of DJ Jazzy Jay and Rick Rubin who first sustained
the 808's kick drum on T La Rock's" 1983 Def Jam debut "It's Yours".
Though the song made little impact that year, it became a template for
bottom heavy rap songs after Arthur Baker re-released it in 1984 on his
"Streetwise/Partytime" label. As Rick Rubin would go on to reuse his
successful formula with Run DMC, LL Cool J, and The Beastie Boys, other
producers cashed in on this model in the mid-80's. Most notably were Miami
producer Amos Larkin III, New York based Mantronix, and an unknown West
Coast rap group named 2 Live Crew. The music that these artists produced
in the year spanning 1984 and 1985 formed a new sound for Black music fans
in the South and on the West Coast: Bass.

The 1st Wave: Cartoon Melodies and Ghetto-Style

"Royal Sounds" was a record Store within the Lauderhill Mall in Ft.
Lauderdale Florida owned by Billy Hines, and his son Adrian was his ear
to the ground and occasional in-store DJ. Out of this store, Billy began
the 4-Sight Record label in 1984. Enlisting Frank Cornelius (member of
the "Cornelius Brothers & Sister Rose" family) as the in house producer,
4-Sight released Electro and Rap records for assorted regional acts,
mostly built on the 808 drum machine and the Emulator II keyboard
sampler. Adrian knew that the newest generation of Black Music fans
wanted Bass, so with that knowledge passed on to his father, Billy
granted Adrian a present for his 16th Birthday; studio time allowing him
to spearhead a song with lyrics about the bass itself. Enlisting Amos
Larkin under the pseudonym "Leon Greene", the two created the monumental
song "Bass Rock Express" in 1985 under Adrian's artist name, M.C. A.D.E.
(Adrian Does Everything). Though this song was based on the same Electro
pastiche of Kraftwerk's "Trans Europe Express" used in "Planet Rock",
other South Florida and West Coast artists continued to take the lead of
Rick Rubin's mid-tempo rap blueprint, but now began rapping about the
bass itself - something none of the Rick Rubin produced artists did --
making Bass a genre claimed by the Southern and West Coast artists
exclusively. Despite the relocating of 2 Live Crew from California to
Miami by Floridian record promoter calling himself "Luke Skywalker", some
of the remaining West Coast rap artists joined in immediately. As
Egyptian Lover's Electro label "Egyptian Empire" hosted the rapper Rodney
O's transformation from an up-tempo Electro artist to a mid-tempo Bass
rapper, he became one of the 1st in a handful to create a song about Bass
in 1986 with "Everlasting Bass".

As groups transitioned from the early days of Miami's Electro and Rap
scene to the official moniker of Bass, a surprise influence came from
leftfield. Tyrone Brunson's 1982 hit "The Smurf" lingered in the air when
Doug E. Fresh's 1985 song "The Show" made use of the theme from "Inspector
Gadget", and now Bass groups wanted in on this formula of rap music +
cartoon melodies. Between 1985 and 1988, a large majority of Bass songs
were founded on a cartoon melody or theme song of any given kitschy
television show, making the genre a bit of a novelty in the eyes of more
serious rappers form the Northeast, despite much of its own region
partaking in the same actions. While these melodies were the driving
forces behind many Bass records, Luke Campbell (who now altered the
spelling of his pseudonym to "Luke Skyywalker") coached 2 Live Crew to
become an X-Rated rap group, which differed greatly from the West Coast
era of the act. If the misogynous lyrics were one factor in the group's
initial success, the other was simply by focusing more on raw 808 beats,
and picking up the tempo of Bass songs to match its Electro parent genre,
making the songs much more danceable than its mid-tempo counterparts.
These techniques created a branch of Bass their label's roster dubbed
"Ghetto Style". Many would eventually imitate their formula for the genre
to both gain an identity and a stigma, but more importantly, bridge the
genre into its next wave.

The 2nd Wave: DJ Wars, Latin Bass, and the Introduction of "Booty"

As the well of cartoon melodies ran dry, the genre could've easily found
itself stalled altogether had it not been for the invention of E-mu's
SP-1200 drum machine style sampler, and the foresight of DJ Magic Mike.
Much like Kooley C and KJ did with their 1986 classic "Let's Get This
Party Started", Mike found himself in 1987 mimicking the production of 2
Live Crew's Mr. Mixx when producing the song "Creep Dog" for MC Cool Rock
& MC Chaszey Chess. Along with Beatmaster Clay D, Mike continued to aid in
the production for the rappers' soon to be released album that featured
the tune "Boot the Booty", which was quite possibly the first in a trend
that would eventually sweep the genre; rap songs to place the female
posterior on a pedestal. Aside from aiding Clay D's efforts, Mike
moonlighted with Edward Meriwether's "Suntown Records" to build a name for
himself. He took his 1986 demo version of "Drop the Bass" to Suntown when
he met Rod Whitehead of the group "Prime Time", and the two men began
production on a track entitled "Give it All You Got (Doggy Style)". After
Meriwether gave Mike his contract to review, Mike turned his back on the
label and "Give It All you Got" due to the stipulations within. As the
future of Rod and Mike lied uncertain with Suntown records, the song was
given to the group "Afro-Rican" for completion. With a touch of reworking,
"Give it All you Got" immediately become one of the genre's highlights,
and Afro-Rican's signature song. DJ Magic Mike would continue as
Beatmaster Clay D's DJ and co-producer through the middle of 1988, but
when Mike took inventory of the fact that he never received credit for the
bulk of his work, he returned to his hometown of Orlando and landed a deal
with the virtually unknown "Cheetah Records" to be a front man as a
DJ/Producer. During this era, Mike would find a great amount of
competition in quality, but not much competition in terms of sales. Magic
Mike and 2 Live Crew proved to be a select bunch to represent the genre on
a nationwide scale, but Mike's true competition between 1989 and 1992 in
terms of quality and style would be in groups such as "Boys from the
Bottom" and the label "Cut It Up Def". Whereas many producers of the early
80's utilized a sample of scratching from the Emulator to represent a DJ,
these artists and others during this wave brought real DJ's to the studio
(or were real DJ's as artists) possibly inspired to "keep it real" by the
example set by the Rick Rubin produced groups. The 2nd Wave of Bass saw
scratching heightened to an immeasurable art form, preceding the
popularized "turntablism" in today's underground Hip-Hop scene.

Another development of this era was a sound dubbed "Latin Bass"; the
combining of Salsa music samples over Bass beats. The 1991 debut album of
Power 96 radio personality "DJ Laz" was the beginning of this concept, and
it has continued to infuse itself into the genre ever since.

As the Miami Bass sound continued to evolve into its own, New York area
producers abandoned the 808 based sound that inspired it, and a
territorial war began. This directed the powers that be within the media
to ignore the Miami Bass sub-genre altogether, and Hip-Hop artists and
fans from the Northeast region would mock Miami's efforts for years to

Electro Bass: Robots Don't Die

All the while Bass grew into its own genre without ditching its roots in
total. As MC A.D.E continued to make albums that only peppered its play
lists with Vocoder driven Electro songs built on a solid foundation of
Bass, Dynamix II and DXJ (including all of DXJ's aliases such as the
ominous "Maggotron") would forge forward with the idea of Electro as the
main fuel. Pretty Tony pumped out a few more releases under his primary
alias, "Freestyle", but now grafted Bass onto his methods in the final
years of his work. Joey Boy Records' in house producers known as "Rock
Force" contributed to the sound as "Bass Patrol" in 1988 before the
group's name was reallocated to another act within the label. Dynamix II
alumni such as Lon Alonzo, Scott Weiser, and Phil "Bass Junkie" Klein
produced enough material to carry the Electro-Bass sub-genre up to the
present day. The fixed presence of Electro in Miami Bass proved to be an
influence for all involved, no matter how much they necessarily drew from
it directly.

Car Audio Bass: The Science of Car Show Accessories

Another development in 1991 occurred when a Bass artist named Techmaster
P.E.B. signed to Tampa's "Newtown Records" and established success with
his 2nd album. He single handedly invented a new sub-genre of Bass by
removing all of the DJ and MC aspects from the music, and centering the
focus on the Bass itself. Although artists such as Magic Mike had the
occasional slow-tempo song centered on bass alone, the car show guys would
skip through CD's and tapes to isolate the most bass heavy portions for
the sake of showing off their car's audio system. Techmaster created a
whole album for their needs. Initially, the album went gold without anyone
imitating it, but as the 1990's continued, many artists were developing
secondary aliases to release albums with this philosophy in mind. It would
be safe to say that even the artists and fans of Car Audio Bass feel their
branch of Bass sounds sterile as it elevated Bass frequencies to a
science, standing in stark contrast to the Ghetto roots of Bass music.
Eventually, Car Audio Bass and the development of "Booty Bass" would
eclipse everything the genre had previously built, leaving behind the
complex sample collages and competitive DJ'ing.

The 3rd Wave: Full Fledged Booty Music

Whereas the song "Boot the Booty" introduced the idea of a female's
posterior being subject matter in 1987, it may be reasonable to say that
only 1/3 of the genre's output revolved around it until the 90's,
garnering the term "Booty Music" to define the 3rd Wave. The elements that
characterize this sound began to rumble under the radar during what seemed
to be the midst of the 2nd Wave's prime.

Devastator was an artist whose song "Cold Blooded" failed to make much of
an impression on Suntown Records in 1988, but he reemerged in the early
90's first performing background vocals, then as a producer producing
Luke's solo hit "I Wanna Rock" in 1991. The song featured no rapping,
scratching, nor car audio bass tricks, but rather just excessively fast
moving dense beats combined with easy to recite, semi-explicit vocal
chants. The following year, he combined his production skills and
background vocal work while appropriating Big Ace's oral trademarks in
Poison Clan's hit "Shake Watcha Mama Gave Ya". Big Ace was one of the
founding members of a Ft. Lauderdale based DJ collective known as "Jam
Pony Express", who was famous throughout the Southeast for their Hip-Hop
mixtapes focusing greatly on Miami Bass and their overdubbed vocals.
Whereas Jam Pony DJ Slick Vic improvised lyrics to rhyme with the original
lyrics of any given song in the mix, Big Ace would improvise primal
grunts, moans, and shrieks over artist's songs. Despite Big Ace's vocal
work being well documented and received by the public, everyone from
Devastator to 95 South to Crazy Leg's (not the same as the famed "Rock
Steady Crew" member) chose to mimic it without giving credit to the
sound's originator during the 3rd Wave.

Another producer to lay the foundation of this sound was CC Orange, also
known as CC Lemonhead. The native of Jacksonville Florida found very
little success with his group "Chill Deal", but when retooled into 95
South, they hit big with their song "Whoot, There It Is". CC continued
this sound with groups such as "69 Boyz", "Dis-N-Dat", and "Quad City
DJ's", creating national hits such as "Tootsie Roll" and "Come on Ride the

This also would be the time when Bass artists from Georgia would no longer
need to travel to Florida to get a record deal, but rather Atlanta and
Augusta became highly notable cities in the Bass scene promoting their
take on the sound independently at large.

As the 90's evolved, tempos increased from 125 bpm to 140 bpm, and rappers
further exaggerated their Southern dialects to help define this era,
creating fuel for some, and an annoyance for others.

Miami Bass Revival: Ravers, Hipsters, and Beyond

Into the new millennium, Booty music seemed to have overstayed its welcome
as releases dwindled, and car audio bass saturated the market to the point
of no new sales. While this could've been seen as the death of Miami Bass,
ultra-hip DJ's and the audience who previously snubbed the genre in whole
began looking back with respect. Adding Miami Bass classics to their
playlists, Bass became a notch in hipsters' belts, even in the Northeast
region of the U.S where it was asphyxiated during its heyday. In 2003, the
Brooklyn based group named "Fannypack" emerged with a decidedly Miami Bass
sound, being reminiscent of bass girl-groups such as L'Trimm or J.J. Fad.
As the Florida Rave circuit continued in the 90's, the new crop of
producers behind the genre known as "Florida Breaks" began to cite Miami
Bass as an inspiration, even incorporated some of its aspects in their
songs and DJ mixes. Outside of the U.S., the Mo' Wax group "U.N.K.L.E."
built their track "Celestial Annihilation" entirely on the beat of the
1986 Bass classic "Now Dance" by "Byron Davis & The Fresh Krew", and in
England, Ed DMX produced a tribute to DXJ under his primary alias of DMX
Krew in 1999 entitled "Back to the Bass" as well as a cover version of
Dynamix's "Just Give the DJ a Break" (albeit, as a lo-fi thrash metal
tune). The trend even infiltrated the center of Hip-Hop as early Florida
Electro tunes would be sampled and reinterpreted by groups such as "Black
Eye Peas", "Prince Paul", and "Busta Rhymes".

In 2000, the first official Miami bass History Yahoo group appeared online
to acutely document the fine details of the genre, and a book by the
founder is said to be on the way. More recently, Miami Bass newsgroups
have turned up in both Brazil and Germany, two countries quickly becoming
recognized for their appetite of collecting classic Miami Bass records.

Essential Listening

Florida Electro-Funk & Proto-Freestyle

(1982) Extra T's - E.T. Boogie (Sunnyview)
(1983) Extra T's - I Like It (Cornflakes) (Sunnyview)
(1983) Freestyle (Pretty Tony) - Summer Delight (Music Spealists)
(1983) Freestyle (Pretty Tony) - Freestyle Express (Music Specialists)
(1983) Debbie Deb & Pretty Tony - Lookout Weekend (Jam Packed)
(1983) Debbie Deb & Pretty Tony - When I Hear Music (Jam Packed)
(1984) Pretty Tony - Fix it in the Mix (Music Specialists MSI-104)
(1984) Freestyle (Pretty Tony) - The Party Has Just Begun (Music Specialists)
(1984) Clarence "Blowfly" Reid - Electronic P*ssy Sucker (Metrovinyl)
(1984) Der Mer & Eric G - Fall Out (Tashamba / Konduko)
(1984) Extra Funk Factory (Noel Williams) - Air Freshener (Tashamba /
(1984) Extra Funk Factory (Noel Williams) - Final Mix (Tashamba / Konduko)
(1984) Palmerforce Two (DXJ) - Street Wars (Pandisc)
(1984) The Invisibles - Donkie Kong (Dubwise)
(1985) Freestyle (Pretty Tony) - Don't Stop the Rock (Music Specialists)
(1985) Connie & Amos Larkin III - Funky Little Beat (FHL)
(1986) Freestyle (Pretty Tony) - It's Automatic (Music Specialists)
(1986) Trinere & Pretty Tony - I Know You Love Me (Jam Packed)
(1986) B.O.S.E. - Bass Overdrive (Rockwell)
(1987) B.O.S.E. & Tim Devine - Rock The World (Hot Productions/ Rockwell)
(1987) B.O.S.E. - Don't Knock It (Till You Try It)(Hot Productions/ Rockwell)
(1987) B.O.S.E. - Subway (Hot Productions/ Rockwell)
(1987) Trinere & Pretty Tony - They're Playing Our Song (Jam Packed)

Proto Bass

(1983) T La Rock & Jazzy Jay (Rick Rubin) - It's Yours (Streetwise/Partytime)
(1984) MC Flex & The FBI Crew (Amos Larkin III) - Rockin' It (Posse)
(1984) Run DMC (Rick Rubin) - Together Forever (Krush Groove 4)(Profile)
(1984) 2 Live Crew - It's Gotta be Fresh (Fresh Beat)
(1985) 2 Live Crew - What I Like (Fresh Beat)
(1985) LL Cool J (Rick Rubin) - Rock The Bells (Def jam)
(1985) LL Cool J (Rick Rubin) - You'll Rock (Def jam)
(1985) Mantronix - Fresh Is the Word (Sleeping Bag)
(1985) Mantronix - Needle to the Groove (Sleeping Bag)
(1985) Sha-quan - Don't Fess (Midnight Sun)
(1985) Bobby Jimmy & the Critters - Big Butt (Rapsur)
(1985) MC Shy-D & DJ Man (Frank Cornelius) - Rapp Will Never Die (4-Sight)
(1985) Prime Choice & Amos Larkin III - The Beat is Fresh (Prime Choice)
(1985) Double Duce & Amos Larkin III - Commin' in Fresh (Prime Choice)
(1985) Double Dose & Amos Larkin III - We Got the Beat (Prime Choice)
(1985) Double Duce & Amos Larkin III - School Breakdown (Double Duce)
(1985) Though MC's & Amos Larkin III - We Love You (Stereo)
(1986) Krush 2 & Amos Larkin III - Ghetto Jump (Nezz)

1st Wave

(1985) MC A.D.E. & Amos Larkin III - Bass Rock Express (4-Sight)
(1986) 2 Live Crew - Throw the D (Luke Skyywalker)
(1986) 2 Live Crew - Ghetto Bass (Luke Skyywalker)
(1986) 2 Live Crew - Get It Girl (Luke Skyywalker)
(1986) Dimples T (with Eric G & Tim Devine) - Jealous Fellas (Suntown)
(1986) DJ KJ & Kooley C - Let's get This Party Started (Beware)
(1986) Gigolo Tony, Cutmaster Crash & Fat Rome - Smurf Rock (Gold Star)
(1986) J. Grey & Mr. Mixx - Miami (Luke Skyywalker)
(1986) MC Shy D & DJ Man - Gotta Be Tough (Luke Skyywalker)
(1986) Original Concept - Pump That Bass (Def jam)
(1986) Rodney O-Joe Cooley - Everlasting Bass (Egyptian Empire)
(1986) Run-DMC - Uptempo (Profile)
(1986) The Third Degree (DXJ) - Bass It Baby (Jamron)
(1986) Worse 'em - Trible M Bass (Bass Station)
(1987) Gucci Crew II - So Def, So Fresh, So Stupid (Gucci/Hot Productions)
(1987) 2 Live Crew - Move Somethin' (Luke Skyywalker)
(1987) Anquette - Shake It, Do The 61st (Luke Skyywalker)
(1987) Cool Rock, Chaszey Chess, Clay D, & Magic Mike - Creep Dog (Rock
(1987) Cool Rock, Chaszey Chess, Clay D, & Magic Mike - Boot the Booty
(Rock Force)
(1987) Gregory D & DJ Mannie Fresh - Throwdown (D&D)
(1987) Gregory D & DJ Mannie Fresh - Freddie's Back (D&D)
(1987) J.J. Fad & The Arabian Prince - Supersonic (Dream Team)
(1987) S.M.O.K.E.Y. D.E.E. & DXJ - Super Bass (Jamron)
(1988) Missy Mist & Eric G - Make It Mellow (Never Stop)
(1988) Gucci Crew II - What Time is It? Gucci Time (Gucci/Hot Productions)
(1988) Sir Mix-A-Lot - Posse On Broadway (Nastymix)
(1989) Young & Restless (with Eric G.)- B Girls (Pandisc)

Electro Bass /Techno Bass

(1985) MC A.D.E. & Amos Larkin III - Bass Rock Express (4-Sight)
(1986) MC A.D.E. & DXJ - Bass Mechanic (4-Sight)
(1987) MC A.D.E. - Transformer (4-Sight)
(1987) Dynamix II - Just Give the DJ a Break (Bass Station)
(1987) Maggotron (DXJ) - Welcome To the Planet of Bass (Jamarc)
(1988) Bass Patrol - Rock this Planet (Joey Boy)
(1988) DJ Battlecat - DJ 'n Effect (Techno Kut)
(1988) DJ EFX - Transbeat (Megajam)
(1988) Dynamix II - Techno Bass (Chaos)
(1988) Maggotron Crushing Crew - The Bass that Ate Miami (Pandisc)
(1988) The Beat Club - Security (Pizazz)
(1988) The Sleeze Boys - Robocop (Bossman)
(1989) B.O.S.E. - Keep Rocking to the Beat (Hot Productions)
(1989) Bassadelic (DXJ) - The Miami Bass Machine (Jamarc)
(1989) DXJ & The Miami Bass Mob - Bass Wars (Pandisc)
(1989) Maggotron - The Invasion Will Not Be Televised (Pandisc)
(1989) Maggozulu Too - Dawn Of The Maggozulu (Pandisc)
(1989) MC A.D.E. - Control (4-Sight)
(1989) MC A.D.E. - Da Train (4-Sight)
(1989) MC A.D.E. - How Much Can You Take (4-Sight)
(1989) Ozone Layer - Planetary Deterioration (Area Code)
(1989) The Man from U.N.C.L.E. - Annihilating Rhythm (Area Code)
(1989) Steve Masters - Turntable Aktion (Tripindicular)
(1989) The Sleeze Boys - Dance 'till You Drop (Bossman)
(1989) Tone Loc & Hashim - The Fine Line Between Hyper and Stupid
(Delicious Vinyl)
(1990) Cha-os - Emergency (Ace)
(1990) DJ Magic Mike - Just Get on Down and Rock (Cheetah)
(1990) Dynamix II - The Album (Dynanmix II)
(1990) Freestyle - Freestyle (Pandisc)
(1990) Lon Angelo - Feel the Passion (Ace/Heatwave)
(1990) Lon Angelo - Vicious Love (Ace/Heatwave)
(1990) Love & Lust featuring Aisha - Love & Lust (Debonaire)
(1990) Maggotron - Bass Planet Paranoia (Pandisc)
(1990) The Sleeze Boys - Z.O.I.D.S. (Bossman)
(1991) MC A.D.E. - I Came Back (4-Sight)
(1991) MC A.D.E. - My Bass in It (4-Sight)
(1991) Dynamix II - Just Give the DJ a Break (Ultamate Remix)(Dynamix II)
(1992) Dynamix II - You Hear It! You Fear It! (Dynamix II)
(1992) Dynamix II - Machine Language (Dynamix II)
(1993) ZMF - Bass to the Future (Attitude)
(1994) The Dynamix II Electro Bass Compilation Volume 1 (Dynamix II)
(1994) MC A.D.E. - Crank It (4-Sight)
(1994) MC A.D.E. - Lookout (4-Sight)
(1996) B.O.S.E. - 808 Bass Express (Rockwell/Hot Productions)
(1997) Dynamix II - Look To The Future (ffrr)
(1998) Dynamix II - Atomic Age (Joey Boy)
(1998) Dynamix II - DJ's Go Berzerk (Joey Boy)
(1998) Dynamix II - Memory Loss (Joey Boy)
(1998) Dynamix II - We Are Your Future (Joey Boy)
(1998) Industrial Bass Machine - A Taste of Armageddon (Joey Boy)
(1999) Rabbit in the Moon - FLooR.i.D.A. (Dynamix II remix)(Hallucination)
(2001) Jackal + Hyde - Badlands (Hallucination)
(2002) Dynamix II - Pledge Your Allegiance to Electro Funk (Monotone USA)

2nd Wave

(1987) Afro-Rican - Give it All You Got (Suntown)
(1987) MC Shy D - Shake It (Luke Skyywalker)
(1987) MC Zeus - Chicken Head (Midtown)
(1988) Half Pint, Clay D & DJ Magic Mike - Stump & Grind (Rock Force)
(1988) Beatmaster Clay D & DJ Magic Mike - You Be you and I be Me (Vision)
(1988) Chilla Frauste - Get Up Get Down Get Funky Get Loose (Miami
(1988) DJ Magic Mike - Magic Mike Cutz The Record (Cheetah)
(1988) Gigolo Tony & DJ Crash - Ain't It Good to Ya (4-Sight)
(1988) J.J. Fad - Blame It On the Musick
(1988) KJ & Da Fellas - Get Retarded (4-Sight)
(1988) Kooley C - Let's Dance (Beware BR-109B)
(1988) MC Fresh C - My Brougham (Hot Productions)
(1988) MC Player & DJ Kid Wizard - Dance (The Mega Diss)(4-Sight)
(1988) MC Zeus - It Ain't a Crime (Midtown)
(1988) Sir Mix-A-Lot & Kid Sensation - Rippin' (Nastymix)
(1989) 2 Live Crew - C'mon Babe (Skyywalker)
(1989) Afro-Rican - Let It Go (Hip Rock)
(1989) Beatmaster Clay D & The Get Funky Crew - Shake Them Titties (Vision)
(1989) DJ Magic Mike - M&M Gettin' Off (Original) (Cheetah)
(1989) DJ Magic Mike & Vicious Bass - Come on Rock Freak (Original)(Cheetah)
(1989) Boys From the Bottom - Boom, I Got Your Girlfriend (Heatwave)
(1989) DJ Jealous J & Gemini - Cut it Up Def (Cut it Up Def)
(1989) DJ Jealous J & DJ Jock D - DJ Wars (& Scratch Pad) (Cut it Up Def)
(1989) DJ Jealous J & DJ Jock D - Partytime (Cut it Up Def)
(1989) Gemini & DJ Jealous J - Miami Skeezer (Cut it Up Def /Jam On It)
(1989) Gregory D & DJ Mannie Fresh - Buck Jump Time (Yo)
(1989) Gregory D & DJ Mannie Fresh - V.D. Woman (Yo)
(1989) Kid Sensation & DJ Greg B - Back to Boom (Nastymix)
(1989) Kooley C - Are You Ready (Beware)
(1989) Kooley C & Ace in the Place - Don't Stop the Music (Beware)
(1989) Ladi Luv - Good to the Last Dub (Joey Boy)
(1989) Young & Restless - Poison Ivy (Original)(Pandisc)
(1989) Renard With No Regard & Clay D - D*ck Is What You Want (Pandisc)
(1989) Ron C. - Do dat Danz (Profile)
(1989) T Boyz DL & DJ Jock D - Jump On It (Cut it Up Def)
(1990) Beatmaster Clay D & Prince Rahiem - Keep Dancin' (Vision)
(1990) DJ Jealous J - DJ Wars Part 2 (Heatwave)
(1990) DJ Magic Mike - Bass is the Name of the Game (Cheetah)
(1990) Kid Sensation - I S.P.I.T. (Remix)(Nastymix)
(1990) Luke & 2 Live Crew - Face Down A** Up (Luke)
(1990) Luke & 2 Live Crew - Mega Mixx IV (Luke)
(1990) MC Luscious & Steve Tempo - Pump It (Heatwave)
(1991) 2 Live Crew - Mega Mix V (Luke)
(1991) Beatmaster Clay D & The New Get Funky Crew - Drop That Bottom
(1991) Brain Damage - Let it Go (Hot Productions)
(1991) Brain Damage & Danny D - Gimmie that Thang (Hot Productions)
(1991) Brain Damage & MC Kidd Money - Pull the Funk Down (Hot Productions)
(1991) DJ Laz - Mami El Negro (Pandisc)
(1991) Hard Headed & Kooley C - Slang that A** (4-Sight)
(1991) Kilo - Hear What I Hear (WRAP/Ichiban)
(1991) MC Luscious & Steve Tempo - Ride That Monkey (Heatwave)
(1991) Sir Mix-A-Lot - Testarossa (Nastymix)
(1991) Sir Mix-A-Lot - Baby Got Back (Hurricane Mix)(Nastymix)
(1991) Cut It Up Def - Bass Jams (Cut It Up Def)
(1991) Young & Restless - B*tch Role (Pandisc)
(1992) 2 BMF - Push Push (Pandisc)
(1992) Boys From the Bottom - Abusadora (Hot Productions/Time-X)
(1992) Danny D & DJ Wiz with Big Ace - Let's Dance (Hot Productions/Time-X)
(1992) DJ Laz & Felix Sama - 2 Live Crew Megamix (Luke)
(1992) LeJuan Love - It's Been a Long Time (Luke)
(1993) MC Shy D - True to the Game (Benz)
(1994) Sir Mix-A-Lot - Ride (Nastymix)

Car Audio Bass

(1989) DJ Magic Mike - Feel the Bass (Speaker Terror Upper) (Cheetah)
(1990) DJ Magic Mike - Feel The Bass Again (Cheetah)
(1990) DJ Magic Mike - Lower the Dynamite (Cheetah)
(1991) Techmaster PEB - Bass Computer (Newtown)
(1991) Power Supply - Ultamate Bass (Hip-Rock)
(1992) Bass Boy - I Got the Bass (Newtown)
(1992) Bass Outlaws - Illegal Bass (Newtown)
(1992) Beat Dominator (Neil Case) - Techno Bass (Pandisc)
(1992) Bass 305 - Digital Bass (DM)
(1993) Bass 305 - Bass the Future (DM)
(1993) Bass Master Funk - In the Funk Box (Avenue)
(1993) Tekno Master DL - Droppin' Bass (Avenue)
(1993) Def Bass Krew - Bass Party (Newtown)
(1994) Bass Mekanik (Neil Case) - Quad Maximus (Pandisc)
(1994) Dynamix II - Color Beats (Dynamix II)
(1995) Quad Queen - Queen of Quad (Dynamix II)

3rd Wave

(1991) Luke & Devastator - I Wanna Rock (Luke)
(1992) Poison Clan & Devastator - Shake Watcha Mama Gave Ya (Luke/Effect)
(1992) Half Pint & Devastator - Big Booty Hoes (Joey Boy)
(1992) Prince Rahiem & Crazy Legs - Loose My Money
(1992) Kooley C, DJ Jock D & Jonski - Da Boodie Crew (Pandisc)
(1993) 95 South - Whoot, There It Is (WRAP/Ichiban)
(1993) Tag Team - Whoomp! (There It Is) (Life)
(1993) Splack Pack - Scrub da Ground
(1993) Splack Pack - Shake That A**, B*tch
(1994) 69 Boyz - Tootsee Roll (Rip It)
(1994) DJ Trans - Ride Out (Attitude)
(1994) Gucci Crew II - Baby Got it Goin' On
(1994) Gucci Crew II Featuring 240 Shorty - Bounce the Azz
(1994) Luke - It's Your Birthday (Luke)
(1994) Soundmaster T - 2 Much Booty (In da Pants)(WRAP/Ichiban)
(1995) 2 Live Crew - Hoochie Mama (Priority)
(1995) 12 Guage - Dunkie Butt (Street Life)
(1995) A-Town Players - Wassup Wassup (Warner)
(1996) DJ Laz - Esa Morena (Pandisc)
(1996) Freak Nasty - Da Dip (Triad)
(1996) Ghost Town DJ's - My Boo (So-So Def)
(1996) Luke & Trick Daddy - Scarred (Luke)
(1996) Quad City DJ's - Come on Ride the Train (Atlantic)
(1996) MC Shy-D & DJ Smurf - Keep Doin' It (Benz)
(1997) B-Rock & The Bizz - My Baby Daddy (LaFace)
(1997) Da Product (Kooley C & G.O.C.) - Keep It to Yourself (Da Phat House)
(1997) MC Shy D - True That (Benz)

Miami Bass Revival

(1997) Busta Rhymes - Dangerous (Elektra)
(1998) U.N.K.L.E. - Celestial Annihilation (Mo Wax)
(1998) Trip Theory - The Roll Song (Intersound)
(1999) DMX Krew - Back to the Bass (Breakin')
(1999) DMX Krew - Just Give the DJ a Break (Go)
(1999) Prince Paul & De la Soul - More Than You Know (Tommy Boy)
(2000) Black Eyed Peas & Esthero - Weekend (Interscope)
(2000) Insane Clown Posse - Posse on Broadway (Republic)
(2000) Jackal & Hyde with Afro-Rican - Give it All You Got 2000
(2002) Massive Attack & Mos Def - I Against I (Immortal/Virgin)
(2003) Fannypack - So Stylistic (Tommy Boy)

The Patron Saint of Miami Bass History,
Joe aka PappaWheelie

Copyright Joe aka PappaWheelie 2003
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