MEAT BEAT MANIFESTO LOOP GURU OG HANDBILL POSTER TH ORB

This is an original single sheet printed paper handbill advertisement (sometimes known as a mini-poster, flyer or print) for a concert performance gig by professional musicians at a live music venue. Beginning in 1987 as an experimental/industrial duo inspired by the cut-and-paste attitudes of hip-hop and dub, Meat Beat Manifesto increasingly became a vehicle for its frontman Jack Dangers to explore the emerging electronics of techno, trip-hop and jungle. Though the group was initially pegged as an industrial act (simply appearing on Wax Trax! was enough to do the trick), their approach to studio recordings influenced many in the new-electronica community during the 1990s, even while Dangers remained a superb producer working in much the same way. Born John Corrigan in 1967 in Swindon, England, Dangers played with Jonny Stephens in the pop band Perennial Divide in the mid-'80s. The two formed Meat Beat Manifesto in 1987 initially as a side-project, and released the singles "I Got the Fear" and "Strap Down" that year. The dense, danceable material surprised many critics used to the duo's previous work, and the singles received good reviews. Dangers and Stephens left Perennial Divide by 1988 and recorded an album that same year — using a touring group of up to 13 members for occasional live shows. The tapes were damaged in a fire, so the two recorded Storm the Studio a year later. Just as dense and sample-heavy as the first singles, Storm the Studio included four songs but added three remixes of each — no need to explain the title — encompassing high-energy dub, hip-hop and noise-rock. With an American deal through Wax Trax!, Meat Beat Manifesto became known in the U.S. as an industrial band, though Dangers and Stephens felt themselves pigeonholed. The duo moved to the San Francisco soon after, and formed a rough political collective with the members of Consolidated and the Disposable Heroes of Hiphoprisy. (Jack Dangers and Consolidated's Mark Pistel co-produced early Disposable Heroes material.) Meat Beat Manifesto, meanwhile, continued their audio terrorism with 99%, a 1990 album that added some jazzy rhythms to the collage of noise. That same year, Wax Trax! recycled the remaining tapes from the aborted first album and released them as Armed Audio Warfare. When Dangers and Stephens signed away from Wax Trax! to the major label Elektra in 1992, the duo finally shook the industrial tag that had stuck with them before. Instead, the media christened the follow-up Satyricon a techno album, due to both the duo's tour of the U.S. with Orbital and Ultramarine, and the album's groove-heavy update of old synth groups such as Depeche Mode. Dangers' early material began to be name-checked as at least a partial motivation for the trip-hop and drum'n'bass movement, due to the studio mechanics inherent in the music. The late-'90s full-lengths Subliminal Sandwich and Actual Sounds + Voices increased Dangers' devotion to the experimental side of electronica, though his first Meat Beat Manifesto LP of the new millennium (RUOK?) was a more spartan affair. Dangers has also contributed to the Tino's Breaks series of records (released on the Tino Corp. label he co-owns with Ben Stokes (aka DHS)) and released two solo albums: 2001's Hello Friends! and 2002's Variaciones Espectrales. — John Bush -- All Music GuideA global fusion duo which deftly combined old-world music and sound with new-world attitude and technology, Loop Guru primarily comprised bassist/guitarist Salman Gita (born Sam Dodson) and programmer Jamuud (a.k.a. Dave Muddyman), both longtime staples of the London club scene. After meeting in 1980 at the introduction of future Trans Global Underground member Alex Kasiek, the two men frequently found themselves performing on the same bill, discovering a mutual dissatisfaction with the restraints of rock music while forging a common bond from their shared interest in tape loops and worldbeat rhythms. Gita and Jamuud soon began experimenting with a mixing desk, which they plugged into a series of tape recorders, DAT machines, VCRs, and so forth; after playing a number of instruments as simultaneous accompaniment, they ultimately created sound collages from what resulted, incorporating samplers and computers into the mix as technology progressed. Under the name Loop Guru, they debuted in 1992 with "Mrabet" — a nod to the Moroccan writer and Paul Bowles confidante — which took "Single of the Week" honors in the NME (an award also handed to the follow-up, "Paradigm Shuffle"). With Iranian-born vocalist Sussan Deyhim, they next issued the Sus-san-tics EP, a multiple-remix project, followed in 1994 by their full-length debut Duniya. In 1995 Loop Guru signed to the North-South label, entering into a unique agreement to release both a "pop record" and a more experimental work on an annual basis. The first fruits of the deal arrived in the form of Amrita, a more conventional effort, and The Third Chamber, an hour-long ambient "single; " in 1996, they issued the third volume in their Catalogue of Desires ambient series (the first two were available only at concerts), along with Moksha, a collection of sessions from the John Peel show. Loop Bites Dog followed in 1997. In 1999, the complete Catalogue of Desires was reworked and remixed into a single-disc release, The Fountains of Paradise. — Jason Ankeny -- All Music GuideThe Orb virtually invented the electronic genre known as ambient house, resurrecting slower, more soulful rhythms and providing a soundtrack for early-morning ravers once the clubs closed their doors. The group popularized the genre as well, by appearing on the British chart show Top of the Pops and hitting number one in the U.K. with the 1992 album U.F.Orb. Frontman Dr. Alex Paterson's formula was quite simple: he slowed down the rhythms of classic Chicago house and added synthwork and effects inspired by '70s ambient pioneers Brian Eno and Tangerine Dream. To make the whole a bit more listenable — as opposed to danceable — obscure vocal samples were looped, usually providing a theme for tracks which lacked singing. Paterson had worked as a roadie for Killing Joke during the '80s, and began to be influenced by the explosion of Chicago house music in England during the mid- to late '80s. He joined the A&R department of EG Records — the home of Brian Eno himself — and first recorded as the Orb with Jimi Cauty (who had played in the Killing Joke side project Brilliant and later gained fame as one half of the KLF). The duo's first release as the Orb, a failed acid house anthem named "Tripping on Sunshine," appeared on the 1988 compilation album Eternity Project One. In May 1989, the Orb released the Kiss EP, a four-tracker dedicated to — and heavily sampled from — New York's KISS-FM. Paterson had begun to DJ in London around this time, and Paul Oakenfold recruited him to man Land of Oz, the chill-out room at his club Heaven. Paterson's ambient sets incorporated a wide array of samples and sound effects, ranging from BBC nature recordings to NASA space broadcasts and special effects. With those samples mixed underneath the music of ambient pioneers such as Eno and Steve Hillage, his sets became popular alternatives for dancefloor victims and worn-out club kids. Hillage happened to be in the room one night when Paterson sampled his Rainbow Dome Musick album. The two became friends and later recorded together, Hillage contributing guitar to the Orb's "Blue Room" single and Paterson working on the debut album by Hillage's System 7 project (or 777, as it is known in the States due to copyright problems with Macintosh). The Orb's first actual foray into ambient house appeared in October 1989 on Paterson's WAU!/Mr. Modo label. The 22-minute single "A Huge Ever Growing Pulsating Brain That Rules From the Centre of the Ultraworld," which sampled ocean noises and Minnie Riperton's "Loving You," actually hit the U.K. charts that year. The single became popular with indie kids as well as club DJs, and earned Paterson and Cauty the chance to re-record the song in December 1989 for a John Peel session. (That version was released two years later, alongside their second session, on the Orb's Peel Sessions album.) In early 1990, Dave Stewart asked Paterson and Cauty to remix his single "Lilly Was Here"; the track hit the U.K.'s Top 20, and the Orb's remix work soon became just as popular as their original material. Erasure, Depeche Mode, Yello, Primal Scream, and more than 20 other bands eventually received the remix treatment before Paterson began to cut back his remixing work in 1992. (One of the only outside remixes of Orb material occurred around this time when breakbeat pioneers Coldcut remixed the Kiss EP for a U.S.-only single.) Alex Paterson and Jimi Cauty had been recording an album during the turn of 1989-1990, but the two split in April 1990 — a result of Paterson's fear that the Orb had become known more as a KLF side project than an original act. Cauty stripped Paterson's contribution to the recordings and released the eponymous album — credited simply as Space — later that year. (Cauty released another ambient album that year: Chill Out, this time with his KLF partner Bill Drummond.) In the meantime, Alex Paterson had been working with Youth (from Killing Joke) on the new track "Little Fluffy Clouds," with a melody incorporated from composer Steve Reich. The single appeared in November 1990, sparking the wrath of the sampled Rickie Lee Jones, whose dialogue with Levar Burton — from the PBS-TV children's program Reading Rainbow — was sampled for the chorus and title of the track; Big Life later settled out of court for an undisclosed sum. Though the single failed to place in the charts, its laid-back vibe made it a big hit on the dancefloor. Youth's other commitments made it impossible for him to become a permane