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Jock D - JPop.com
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Jock D

Jock D

Jock D


Jock D aka DJ Jock D (Chris Walton, born in Cincinatti Ohio, raised in New York City) is a West Palm Beach, Florida based Miami Bass/Hip-Hop rapper, producer, and scratch DJ, who earned fame as one of the chief creative forces behind Cut It Up Def Records in the late 1980’s and early 1990’s. Early Years During the Electro era of Hip-Hop circa 1983, Chris became heavily influenced to become a disc jockey listening to DJ Red hold residency at The Palace Skating Rink. Read more on Last.fm
Jock D aka DJ Jock D (Chris Walton, born in Cincinatti Ohio, raised in New York City) is a West Palm Beach, Florida based Miami Bass/Hip-Hop rapper, producer, and scratch DJ, who earned fame as one of the chief creative forces behind Cut It Up Def Records in the late 1980’s and early 1990’s. Early Years During the Electro era of Hip-Hop circa 1983, Chris became heavily influenced to become a disc jockey listening to DJ Red hold residency at The Palace Skating Rink. Chris began collecting records for breakdancing and his interest in becoming a DJ was heightened as South Florida radio personality Phil Jones began making waves on Miami’s Hot 105 in 1985. Jones was playing records that would become the early proto-type for Miami Bass such as Rick Rubin produced Def Jam acts, Mantronix, and early 2 Live Crew records from California. As Chris’s interests in DJ’ing continued to grow, a friend named Shelby dubbed him Jock D, translating to Disc Jockey reversed. While living with his divorced mother, Jock met radio personality Mighty Michael of WPOM while she was working at the Singer Island Hilton hotel.

This would become very important as Jock was offered the job DJ’ing his high school dance; however, Jock didn’t own any equipment and Mighty Michael loaned his to Jock for his first gig. Beware Records 1986 was the breaking year for Miami Bass as 2 Live Crew relocated to Miami when their song Throw the D became a regional hit and the West Palm Beach based artist Kooley C hit with two singles immediately afterwards. Jock met Kooley C towards the end of 1986 and professed an interest in replacing his current DJ. Jock’s assertiveness didn’t get him the role he requested, however, it did land him a position DJ’ing for Kooley’s protégé named Magic at Beware Records. Despite several local shows performed by Magic and Jock, the act never got off the ground. Fresh to Rock In 1987, Jock was working at a McDonald’s fast food restaurant, who’s manager at the time oddly enough was Gary Davis, a music producer/writer/label head best known for his Disco productions on Chocolate Star Records out of New Jersey.

Gary planned on reviving Chocolate Star Records with a new Miami Bass group he was mentoring named Fresh to Rock, and the group was in need of a scratch DJ. They hired Jock, but Jock did more than just add scratches to the final version of Fresh to Rock’s single. He revamped the pre-production of the songs along with his friend from the Palace Skating Rink days, DJ Wiz, who also happened to live across the street form Jock’s high school. Once the pre-production by the two was approved by all involved, the song was recorded in a studio located in the back of the McDonald’s, and the first record to feature Jock D was on the market. Cut it Up Def, Cha-os, and Reuniting with Kooley C As Fresh to Rock fizzled out in 1988, Jock continued to DJ house parties and work on production with DJ Wiz.

They soon parted ways as Wiz joined Danny D in the group Boyz from the Bottom. Solo, Jock heard there was to be a DJ contest at Frank Garcia’s local club Funhouse. The winner was to become the club’s resident DJ, and Jock won this by mixing two of the most popular records at the time together: The Unknown DJ with Public Enemy’s Rebel Without a Pause. After winning, he was approached by a local rapper named Jonski.

Jonski was angered as he expected his DJ, Jealous J, to win, and the money awarded was to be their drink money for the evening. After the two men talked it over, Jock went from being an enemy of this camp to a new recruit. Jonski, Jealous J, rapper Aaron G, and another producer/rapper named Gemini had just began work as the creative staff for a new record label named Cut it Up Def Records ran out of Bob "Scorpio" Smith’s TV Satellite company. Initially, Gemini was the lead creative force of the label as he was the experienced producer with the ideal rapping voice, while Jealous J was the scratch DJ and second string producer. However, Gemini’s tenure with the label was short lived, moving Jealous J to the top.

With Jealous and Jock, Scorpio realized he had two exceptionally talented producers and DJ’s on his hands, so he capitalized by having them produce a DJ battle track in 1989 entitled DJ Wars. Shortly after, Jealous J left the label to sign with Heatwave Records, making Jock D the lone producer for Cut it Up Def (assisting Jealous at Heatwave on occasions such as the Dijital DJ’s compilation). During this time, the West Palm based Electro Bass group Dynamix II had broken up and the two members began solo projects (Dave Noller later emerging solo as Dynamix II before recruiting Scott Weiser to join him). Jock networked his way onto former DII member Lon Alonzo’s response track, and the two men called themselves Cha-os after Dynamix’s former record label. Their a-side song, Too Much Bass, became one of the most popular songs on Power 96, Miami’s number one radio station, winning their Power Wars five weeks straight; however, Cut it Up Def’s lack of business savvy made the product very difficult to purchase during its popularity.

At this time, Kooley C also began working with Jock again, going so far as to rework Kooley’s second 1986 hit for release in 1991. While Jock was the primary creative force behind Cut it Up Def, he enlisted and produced the rappers Alex Weir and Devasting Lee (T Boyz DL) all while having no contract with the label. Cut it Up Def’s catalog had made enough waves for Scorpio to land a manufacturing and distribution deal with the more established Pandisc Records. Jock was put in the position to quickly record new tracks and orchestrate a compilation, which would be distributed by Pandisc. Pandisc Records and Booty Music After the release of the Cut it Up Def Bass Jams compilation in 1991, the relationship between Cut it Up Def and Pandisc soured, making tensions amongst all involved became high. Jock began taking inventory of royalties not paid by Scorpio, which resulted in Jock signing briefly with Pandisc directly, taking Jonski and Kooley C along.

There they produced a single entitled The Boodie Crew, and Cut it Up Def responded by replacing its lost roster with the booty based group Splack Pakk. 1993 was the year that things seemed bleak for the old guard of Miami Bass as the "booty" element had become dominant. Jock felt it was time to redeem himself by producing music he thought of as higher quality, shifting his focus to a more New York based Hip-Hop sound. This resulted in his move to NYC circa 1994 with The Whiz Kids and their group Rotten Apples. Jock D Wrecks the Planet While he was away, the Cut It Up Def legend continued to grow, primarily because the demand could not keep up with the supply. In 1995, Jealous J had moved from Heatwave Records to Dave Noller’s Dynamix II Records, and Jealous had offered Jock an album deal with a sizable advanced to return to Florida and begin work.

Alongside helping Jealous J on the somewhat forgotten Dawgzillaz project, Jock recorded his debut solo album entitled Jock D Wrecks the Planet in 1995, but Dynamix II Records folded shortly after it was recorded, leaving the final product on the shelf unreleased. Bomb Threat Records, Godz of Quad and THEM 2 Back in Florida with no product on the market motivated Jock to get something new going quickly. He entered a lawsuit with Pandisc Records for unpaid back royalties. Jock used this, along with his new roommate's fundings, to form Bomb Threat Records, fostering Hip-Hop acts including his close partner Boogie Waters in a group titled THEM 2, Cut It up Def alumni such as Aaron G, and entering a coalition of Bass acts with Kooley C and Boogie entitled Godz of Quad. Many of these tracks saw the faint light of day on the independently released Bomb Threat compilation, but when Gary Strider caught wind of who was involved, he licensed some of this material, and commissioned more uptempo booty bass tracks for a compilation entitled Pure Miami Bass to be released on Da Phat House Records in 1998. The Godz of Quad project was slated to be bigger than just a footnote on a couple of compilations.

In 1999, two full albums were being negotiated with Joey Boy Records, but as Miami Bass’s popularity was declining, Joey Boy only bought a couple songs before converting to a Christian music label. However, enough was earned from this to fund the more straight forward Hip-Hop recordings by their THEM 2 moniker. The crew ended the nineties seemingly mislead as much of Florida became belatedly enchanted by non-Hip-Hop related electronic dance music styles. Jock, along with Kooley C, and a producer named El-P met during the recording of the Dijital DJ’s compilation, recorded a Drum and Bass song that fell by the wayside. Cut it Up Def: V2.0 Clinging to early 1990’s style Hip-Hop seemed to be a dated concept as Crunk and new school R&B dominated the Hip-Hop community, so Jock reevaluated. Jealous J (now Jim Jonsin) and Kooley C reinvented themselves as larger than life producers of these genres, producing everything from Pretty Rickey to Pitbull to Jamie Foxx.

Jock D did not want to follow this path. All the while he never fully addressed the growing legacy of Cut it Up Def, Cha-os, and Miami Bass overall globally with younger generations. Making himself available to fans online, he discovered many consider him a legend at this point, often cited as one of the top five Miami Bass producers to date. In late 2006, Jock D reformed Cha-os and re-launched Cut It Up Def Records, already signing new school non-booty Miami Bass acts such as Sound Chasers. Read more on Last.fm.

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