Artist: Man Parrish
Genre(s):
Electronic
Discography:
Man Parrish
Year:
Tracks: 13
Although he produced only a smattering of tracks of renown and disappeared into obscurity most as cursorily as he had emerged from it, Manny Parrish is still one of the most important and influential figures in American electronic saltation euphony. Helping to lay the fundament of electro, hip-hop, freestyle, and techno, as well as the gobs of subgenres to break away turned from those, Parrish introduced the aesthetic of European electronic pop to the American clubhouse scene by combine the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut'n'mix glide slope of nascent rap. As a result, tracks like "Hip-hop Be Bop (Don't Stop)" and "Boogie Down Bronx" were period-defining plant that provided the introductory genetic material for everyone from Run-D.M.C. and the Beastie Boys to Autechre and Andrea Parker -- and they stay undisputed classics of early hip-hop and electro to this day. A native New Yorker, Parrish was a extremity of the extended family of glam-chasers and freakazoids that converged nightly at Studio 54. His nickname, Man, first appeared in Andy Warhol's Interview magazine, and his early live shows at Bronx hip-hop clubs were glasses of lights, glister, and pyrotechny that drew as much from the Warhol mystique as from the Cold Crush Brothers.
Influenced by the electronic experiments of Klaus Nomi and Brian Eno as well as by Kraftwerk, Parrish together with Raúl RodrÃguez recorded their best-known work in a bantam studio apartment sometimes shared with Afrika Bambaataa, whose own sessions with Arthur Baker and John Robie produced a number of classics match to Parrish's own, including "Wildstyle," "Look for the Perfect Beat," and the illustrious "Major planet Rock." What distinguished "Hip-hop Be Bop," still, was its lack of vocals and the extremely broad spectrum of popularity it gained in the club fit, from ghetto breakdance halls to uptown clubs like Danceteria and the Funhouse. After he ascertained a pirated written matter of his euphony being played by a local DJ, Parrish establish his way to the offices of the Importe pronounce (a foot soldier of popular dance imprint Sugarscoop), with whom he inked his first handle. He released his self-titled LP curtly afterward, and the record album went on to sell all over iI 1000000 copies worldwide. Following a period of blow out, Parrish recorded and remixed tracks for Michael Jackson, Boy George, Gloria Gaynor, and Hi-NRG group Man 2 Man, among others, and served as road director for the Village People. While Parrish's subsequent material achieved nowhere nigh the success or creative toss of his earlier work out, he continued to record from his Brooklyn studio and has been a patronise DJ at New York S&M clubs. His second base LP, Dreamtime, appeared on Strictly Rhythm in 1997.
