[ SamplePack ] – M/A/R/R/S : Pump Up The Volume – UPDATED!

Could someone please put the sample pack on a site like rapidsite or something since the original download is no longer available?

That would be much appreciated

Cheers.

Will definately use some of these samples cheers

Don’t work

If you go to the original site you’ll see that the actual link on his site’s dead. Asking for a reupload here probably won’t fix THAT issue 😉 that’s up to the webmaster of that page to sort it out.

BUT, we can hope that someone will tag it onto this thread somehow and then once we get a hold of that I can use the File Attachment feature to make that file Stick to this post.

Alles Klar?

Regards,

acapella

.rar is empty..

this pack is wicked

[color color=indigo:wcp4v545][size size=200:wcp4v545]SOMEBODY MUST HAVE IT – PLEASE UPLOAD IT[/size:wcp4v545][/color:wcp4v545]

its not working

I have uploaded the marrs samplepack

kind regards
djprince
http://www.djprince.no
http://www.myspace.com/deejayprince

looking for : Sumner, Geoffrey – a journey into sound , acapella , tool or sample

thanx for help

Quality stuff oh Yes Thanking you gladly bookmarked the site to 😉 T.Q.

Thanks for the pack… been thinking about this song for a while now!

Thankx, for sharing.

greetings, mike

pretty cool pack…harmonic mixing is tough like hell and i’ve only been able to pull it off at a COUPLE of shows

Check out the for the updated samples.

Thanks Prince!

** http://www.djprince.no presents **

M.A.R.R.S. – Pump up the volume
Released August 1987
BPM 113
Key A minor
delay in msec: 631

Music: S & M. Young
Guitar: A. R. Kane
Scratching: CJ Mackintosh
Samples: John Fryer
Scratching/drop-ins: Dave Dorrell
Producer: M. Young
Engineer: John Fryer
Recorded at Blackwing
M’n’S Music/Blue Mountain Music

1987 CJ hooked up wilh Dave Dorell and joined his group Nasty ROX taking over from Nelle Hooper (Soul II Soul/Massive Attack). With Dorell and two members of Colour Box, they created the seminal House track "Pump Up The Volume" by M.A.R.R.S. This was an international hit and was responsible for opening up the pop market to Dance Music as we know it today

Still looking for:
– the arabic female vocal- I have checked and it is not Ofra Haza -Im nin alu.
– boogie down – male vocal
– uh! here we go come on – male vocal

Samples:

Bar-Kays
Money Talks: (Stax 1978)
* "Holy Ghost" (Intro)

Byrd, Bobby
single: (Brownstone 1971)
* "Hot Pants. . . I’m Coming, I’m Coming, I’m Coming"

Castor, Jimmy Bunch
It’s Just Begun: (RCA 1972)
* "It’s Just Begun"

Graham Central Station
Ain’t No Bout-A-Doubt It: (Warner Bros 1975)
* "The Jam" (Drums)

J. B.’s, The
Doing it to Death: (People 1973)
* "Introduction to the JB’s"

* "More Peas" (Yeah Yeah)

Kool and the Gang
Spirit of the Boogie: (De-Lite 1975)
* "Jungle Jazz"

Last Poets
This is Madness: (Metrotone 1971)
* "Mean Machine"

Trouble Funk
Drop the Bomb: (Sugar Hill 1982)
* "Pump Me Up"

B-Side & Fab Five Freddy
single: (Celluloid 1982)
* "Change le Beat" (Vocals: "This stuff is fresh!")

Sumner, Geoffrey
A Journey into Stereo Sound: (London ?)
* "Train Sequence" (Vocals: "This is a Journey Into Sound")

Public Enemy
YO! Bumrush the show(Def Jam 1987)
"You’re gonna get yours"

Introduction to The Soul Children’s "I Don’t Know What This World Is Coming To" from Wattstax: The Living Word, 1972 (LP)

Lovebug Starski & The Harlem World Crew
"Positive Life" from Positive Life, 1981 (12")—UK remixes (The greatest record of the year)

M|A|R|R|S
PUMP UP THE VOLUME

Released August 1987

7" single * (AD 707)
12" single * (BAD 707)
12" single white label * (BAD 707 A)
12" single remix version * (BAD 707 R)
CD single * (BAD 707 CD)

CD single (reissue in digipack, new art) (BAD M 707 CD)
Released November 15, 1993

US CD single (reissue in jewel case, new art) (BAD 70707 CD)
Released July 7, 1998

Tracks 7" & 12":
1. Pump Up The Volume
2. Anitina (The First Time I See She Dance)

Tracks 12" remix:
1. Pump Up The Volume (Remix)
2. Anitina (The First Time I See She Dance) (Remix)

Tracks CD single:
1. Pump Up The Volume (Remix)
2. Pump Up The Volume
3. Anitina (The First Time I See She Dance)
4. Anitina (The First Time I See She Dance) (Remix)

Tracks UK 1993 CD single reissue:
1. Pump Up The Volume
2. Pump Up The Volume (Remix)
3. Anitina (The First Time I See She Dance)

Tracks US 1998 CD single reissue:
1. Pump Up The Volume
2. Pump Up The Volume (Bonus Beat)
3. Anitina (The First Time I See She Dance)
4. Pump Up The Volume (Radio Edit)
5. Pump Up The Volume (Instrumental)

*********************************************************
M/A/R/R/S
From Wikipedia, the free encyclopedia.
(Redirected from MARRS)
MARRS (or M/A/R/R/S) was a one-off recording act from 1987 whose sole release was the single "Pump Up The Volume", which was a UK number one hit and a significant milestone in the development of British house music and sampling culture.

[edit]
Context
"Pump Up The Volume" was the product of an uneasy collaboration between Colourbox and A.R. Kane, two groups on the independent art-pop label 4AD. The link-up was suggested by label founder Ivo Watts-Russell after the two groups had independently sounded him out about the possibility of releasing a commercially-oriented dance record,inspired by the American house music that was starting to make an impact on the British charts. When the MARRS project was first mooted early in 1987, the style had already spawned two major hits – Farley "Jackmaster" Funk’s "Love Can’t Turn Around" in the autumn of 1986, and Steve "Silk" Hurley’s "Jack Your Body", which reached number one in January 1987. But just as important to MARRS in the long run was the underground dance scene which was beginning to emerge in the UK, particularly records such as The Justified Ancients of Mu Mu’s "All You Need Is Love" and Coldcut’s "Say Kids, What Time Is It?". These sample-heavy dance records were critically acclaimed, but were not mainstream hits.

[edit]
The record
However, the collaboration did not go entirely to plan. Once in the studio, the groups’ different working methods and personalities failed to jell. Producer Jon Fryer found himself in the middle an unable to resolve the conflict between the two camps. The result was that instead of working together, the two groups ended up recording a track each, then turning it over to the other for additional input. Colourbox came up with "Pump Up The Volume", a percussion-led near-instrumental, while A.R. Kane created the more deliberately arty "Anitina (The First Time I See She Dance)" in another studio. Colourbox then added a heavy drum-machine rhythm and effects to "Anitina" and A.R. Kane overdubbed some additional guitar to "Pump Up The Volume". The coup de grace, however, was the addition of scratch mix effects and samples by DJs C.J. Macintosh and Dave Dorrell.

The two tracks were released to UK dance clubs in July 1987, with no artist or label credit. "Pump Up The Volume" proved to be the more popular side and was the track more heavily promoted (in particular, it was the track for which an accompanying video was produced) when 4AD released the 12" single (as, officially, a double A side) on August 24. It entered the UK singles chart the following week at number 35, a strong initial showing for an unknown act, especially on 12" sales only. However, what gave "Pump Up The Volume" its commercial edge was the remix released a week later. This remix became the best-known version of the track, transforming it by the addition of numerous samples which provided the record with additional hooks besides its oft-repeated title chant – Public Enemy shouting "We’re gonna get ya!", the title line from Criminal Element Orchestra’s "Put The Needle To The Record" (a minor house hit from earlier the same year), and most distinctively, a speeded-up sample of Israeli singer Ofra Haza’s "Im Nin Alu". It was this remix, rather than the original, which was edited down to create the 7" version of the track, which began picking up radio play.

As the record climbed the charts, however, the single ran into legal difficulties. With "Pump Up The Volume" standing at number two, an injunction was obtained against it by Stock Aitken Waterman, who objected to the use of a sample from their hit single "Roadblock". Distribution was held up for several days while negotiations took place, which resulted in an undertaking that overseas releases would not include the "Roadblock" sample. Dave Dorrell later stated that he believed SAW would never have noticed the highly-distorted sample had he not rashly boasted about it in a radio interview. Many observers suggested that SAW’s motives had just as much to do with extending the run of their production, "Never Gonna Give You Up" by Rick Astley, at the top of the chart. "Pump Up The Volume" went on to spend two weeks at number one in October 1987 and was also, minus the "Roadblock" sample, a hit in many other countries.

[edit]
Influence
As the first big British-made house hit, "Pump Up The Volume" marked a turning-point in the popularity of the genre. Eric B & Rakim’s "Paid In Full", which entered the top 20 in November, sold on the strength of a Coldcut remix which unashamedly recycled elements from the MARRS single (though the original artists, an American rap duo, were reported to hate the mix). This was a very rapid response indeed, since "Pump Up The Volume" seemed to catch the record industry off-guard. It wasn’t until February 1988, a good four months after "Pump Up The Volume" reached the top ten, that the floodgates truly opened. Like "Pump Up The Volume", many of the first major wave of British house hits were on independent labels. Not all of them displayed an obvious influence from MARRS, though many did. While Two Men, A Drum Machine And A Trumpet’s "Tired Of Getting Pushed Around", one of the first such hits, was principally just a dance groove with minimal use of samples, it was the sampling angle that made most impact on the public consciousness in the short term. Among the hits clearly following in MARRS’ footsteps were "Beat Dis" by Bomb the Bass, "Theme From S’Express" by S’Express and "Doctorin’ The House" by Coldcut. These in turn spawned imitators from across Europe and the USA. Although the sample montage craze would soon burn itself out, due partly to the fact that many of the later records relied heavily on recycling the same samples already heard on the hits mentioned above. More significantly, the house boom of 1988 would later come to influence later dance music styles, including the "rave" scene and, in a different form, "Madchester".

MARRS themselves never even came close to recording again. A.R. Kane gave interviews to the music press in which they explained that while they were proud to have been part of MARRS, it was not an experience they were keen to repeat. They were particularly unhappy at having their contribution to "Pump Up The Volume" all but removed from the track (though this may have been the decision of Dorrell, Fryer and/or Macintosh, rather than Colourbox). They declined Colourbox’s offer to buy the rights to the MARRS name, and the project remained a one-off.

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