Low - A Brief Audiography (in mostly chronological order)

The choice to follow the word ‘low’ through its usage in modern music may seem irrelevant at first glance, but a careful study reveals a fascinating story that one cannot help but recognize as the mix unfolds. Beyond highlighting Ludacris’ career, and following the transitory tastes of a generation of partiers, it tells of the evolution of Party-Pop.

While continuing on, listen to the full mix here on mixcloud.com

In The Beginning

The first notable recording of Low comes, of course, from the famous “Low Rider” (War, 1975). Championed over the decades for its innuendo and close association with drug use, for the millennial and those who came before, this was often the first exposure to Low.

However, there was one other song that beat it to the historical first, “Do Your Ears Hang Low.” The origins of this song are obscure with many sources citing its obscene version (which featured ‘balls’ or ‘boobs’ instead of ‘ears’) as a precursor to the children’s campfire version. One author notes that this version was sung by British solders in WWI. The recording that made this mix (and indeed one of the earliest recordings available) is taken from the 1980’s children show Sharon, Lois & Bram's Elephant Show - "Growing Up” (Season 3, Episode 12, originally aired Dec., 1986)

“Slow and Low” was the second to last song on the Beastie Boys monumental release Licensed to Ill (Nov., 1986). It carried Low through the next decade as the 90s were decidedly not Low with their upbeat songs about jumping (Kris Kross, House Of Pain, Third Eye Blind, etc). Yet, as I grew up listening to the radio during this time, I can attest, “Slow and Low” was a staple of 90s Americana. Coincidently, “Slow Ride,” on the same LP, samples “Low Rider.”

The next installation comes in the late 90s from the standalone party song “Cha Cha Slide, Part 2” (DJ Casper, 2000). Originally written as a work out song for Casper’s nephew in 1998, it received lexicon status after its subsequent releases, which became prom and wedding favorites. It is featured here for its bridge, where it resurrects the entire concept of Low for a Western audience, bringing the party back to earth, and igniting the next decade in music.

The Second Wave

Lil Jon, The East Side Boyz, and The Ying Yang Twins took DJ Casper’s innocent interrogative and made it an imperative in their absurd “Get Low” anthem (Feb., 2003). Apart from being an absolute hit, on a personal note, this song will always remind me of darkly lit house parties in South Central LA, rank with Jungle Juice, sweat, windows, and walls.

“Yeah!” (Usher feat. Lil John and Ludacris, Jan., 2004) took Low from Crank, to Crunk&B, bringing it out of the obscene and into the mainstream. Winning Best Rap/Sung Collaboration Song at the Grammies that year, “Yeah!” also features the first appearance of Ludacris in this compilation.

Low’s last appearance in the Crunk genre brought Low back to its origins by sampling the original “Ears Hang Low” melody (which in turn was taken from the folk song “Turkey in the Straw,” 1830s-ish). “Chain Hang Low” by Jibbs (June, 2006) was a moderate success, but perhaps it was more a statement about Party-Pop at the time, being a proclaimed one hit wonder.

Something needed to be reinvented to keep Low low, and Busta Rhymes was able to deliver in his “Touch It” (Remix), enlisting the help of Missy Elliot and others (May, 2006). Busta sampled the French House song “Technologic” by the quasi-mainstream Daft Punk (2005), beating Kanye’s “Stronger”—which also paid homage to the french duo—by over a year. Hip-Hop was still the king, but there was no denying it, the influence of electronica had become mainstream, and could be heard murmuring, “Let me talk to ‘em.”

“Low” by Flo Rida (feat. T-Pain, Oct. 2007) brought the low tempo higher and incorporated much more electronica and club mainstays like 808-style drums and arpeggiated note sequences, while still holding true to its Southern Hip-Hop roots.

A Rising Contender

What happened next was an eruption in the art of getting Low, a true dislodging of the powers that be. Eminem's mantra of “Nobody listens to techno,” no longer held true (“Without Me,” 2002). Culminating in 2010, a new and innovative style of electronic dance music began emerging out of the UK and various parts of the US called Dub Step—it was off tempo, anti-four-to-the-floor, and yet undeniably electro. If Hip-Hop was parlaying to EDM, this was EDM’s answer. And it was delivered via the Blog House explosion, creating never before imagined, unauthorized genre-mashup remixes. It was the Wild Wild West of Party-Pop.

To capture this, I chose a remix of Dev’s “Bass Down Low” (feat. The Cataracs) by the Proper Villains. A lot of critics, I am sure, will argue that it is not Dub Step, and to that, I agree. It was born out of Dub Step, perhaps call it “Bro Step,” as it was the rebellious, unrefined second generation, a Party-Pop-friendly style that took over the college and club scene.

But Hip-Hop was not finished when it came to Low, in fact, it was defending its turf, and challenging the newcomer with one obvious question, “I see what you can do, but how Low can you go?” And of course, the king of Low, Ludacris, was the challenger. “How Low” (Dec., 2009) sampled the infamous “Bring the Noise” by Public Enemy (1987) which opens with the iconic phrase, “Bass! How low can you go?” Also sampled at the top of this mix.

A New Era

And with that last stand, EDM took the main stage in the Low chronology with all its 4-4 glory. Sidney Samson’s 2012 release “Get Low” picks up the Low trail next. Samson, a dutch DJ, started his career as a Hip-Hop DJ, only transitioning later to House. “Get Low” is interesting because it is not Hip-Hop giving House a casual nod, but instead, House giving Lil Jon, The East Side Boyz, and The Ying Yang Twins a nod.

There is one key advantage that EDM has over English music or American centric Hip-Hop, and that is language-neutral appeal where the music becomes the language. Dillon Francis & DJ Snake were not the first to incorporate Arabic influences in their music, but “Get Low” (Feb., 2014) does exactly that and became a huge hit in the European club scene.

Next, “Deep Down Low” by Valentino Khan was the most played song of 2015 (according to DJs). Continuing with the international theme, it featured an insane Low trip music video, which takes place in a Tokyo ramen shop. We end in 2016, with “Drop That Low (When I dip)” by Tujamo. A German born DJ and internationally recognized artist, Tujamo’s sound clearly borrows from the Latin and tropical club scene, while referencing where Low had been before in its “Bro Step” days.

The only remaining question is, who is the next contender? Or will Low retreat like it did in the 90s? Low has become the crown that only the world’s most popular party music is fit to wear. However, once you achieve cool, you are destined to lose the title. Certainly there already is some new thrash in some dank recess of the internet, or on the mezzanine of an after-hours club, waiting for a fighting chance. Only time will tell who or what wields the crown jewel of the indelible party spirit next, and whether they give homage to Low.

I hope you enjoyed the mix, leave a comment below and let me know what you think!

Track List:
Low Rider - War
Sharon, Lois & Bram’s Elephant Show - “Growing Up” Season 3, Episode 12
Public Enemy - Bring the Noise (Sample)
Beastie Boys - Slow and Low
Casper & The Live Platinum Band - Casper Cha-Cha Slide
Lil Jon & The East Side Boyz & Ying Yang Twins - Get Low
Usher - Yeah! (feat. Lil Jon & Ludacris)
Gibbs - Chain Hang Low
Bust Phymes - Touch It (Remix) [Featuring Mary J. Blige, Missy Elliott and Rah Digga]
Flo Rida - Low (feat. T-Pain)
Dev - Bass Down Low (feat. The Cataracs) [Proper Villains Remix]
Ludacris - How Low
Sidney Samson - Get Low (Original Mix)
Ludacris - How Low (Them Lost Boys Remix) (Sample)
Dillon Francis & DJ Snake - Get Low
Valentino Khan - Deep Down Low
Tujamo - Drop That Low (When I Dip) [Extended Mix]