I Gotta Big Dick (Maurice Joshua)

• acid-house
• house
• Maurice Joshua
• Hula

As the clock rewinds to the era of the late 1980s, we find ourselves entrenched in the pulsating heart of Chicago’s thriving dance music scene, where Maurice Joshua was cementing his place as a pioneer of the genre. The seasoned DJ and producer, who would later go on to establish his own label, Nu Soul, has left an indelible mark on the annals of electronic dance music, and his 1988 release on Trax Records Ltd., “I Gotta Big Dick,” serves as a testament to his groundbreaking contributions.

In today’s perspective, the record has aged like fine wine. The four-track EP, featuring the eponymous “I Gotta Big Dick” and its instrumental version, along with “This Is Acid” and “Feel The Mood,” captures the raw energy and spirit of the Chicago house movement that Maurice Joshua helped spearhead. With the passage of time, the record has only grown in its significance and appeal, becoming a true classic of the genre.

The genre, the genre, the genre—yes, Chicago house music. This was the era that saw the genesis of a sound that would go on to define the late 80s and 90s, and Maurice Joshua was right there in the thick of it all. “I Gotta Big Dick” can be considered a cornerstone of his discography, providing a snapshot of his early production style and his affinity for blending samples and infectious beats.

Breaking down the record, we first delve into the title track, “I Gotta Big Dick.” Running for a total of six minutes and twenty seconds, the song is a throbbing, pulsating journey through the sounds of acid house, featuring a hypnotic bassline, relentless 808 drum machine patterns, and an array of dissonant synth stabs. The use of samples is key in this track, with vocal snippets laced throughout, giving the listener just enough to latch onto before being submerged back into the depths of the groove. The instrumental version allows for an even deeper exploration of the track’s sonic elements, stripped back to reveal a foundation of intricate percussion and relentless rhythm.

The B-side of the EP kicks off with “This Is Acid,” a track that encapsulates the essence of Chicago’s acid house movement. With a runtime of four minutes and fifty-six seconds, the track is a relentless assault of squelching Roland TB-303 basslines and stuttering drum patterns that demand movement from the listener. The spoken word vocal samples, peppered throughout the track, only serve to emphasize the sheer power and energy of this dance floor destroyer.

Moving on to “Feel The Mood,” the EP’s final offering, we are treated to a slightly more subdued affair. Clocking in at four minutes and fifteen seconds, the track boasts a captivating melody that weaves its way around a solid backbone of rhythmic beats and crisp hi-hats. While not as aggressive as its predecessors, “Feel The Mood” still retains the infectious energy that permeates the entire EP.

From today’s vantage point, it is easy to see how “I Gotta Big Dick” was influenced by the likes of other Chicago house pioneers, such as Frankie Knuckles, Marshall Jefferson, and Ron Hardy. The entire EP stands as a testament to the groundbreaking work of these artists, as well as Maurice Joshua’s own relentless dedication to pushing the boundaries of electronic dance music.

And the message, the message, the message—yes, what is the theme or message behind “I Gotta Big Dick?” On the surface, the record appears to be a playful exploration of bravado and innuendo, but there is a deeper meaning at play here. Maurice Joshua’s work can be interpreted as a celebration of the liberating nature of dance music, a space where people could express themselves freely and openly without fear of judgment or discrimination. The title itself can be viewed as a metaphor for confidence, self-assurance, and the willingness to challenge the status quo, qualities that were essential in the birth and growth of the Chicago house music scene. The unapologetic rawness of the EP serves as a reminder that true innovation often emerges from pushing the boundaries and taking risks.

“I Gotta Big Dick” stands as a testament to the enduring power of house music, a genre that has continued to evolve and thrive throughout the decades. The record’s legacy is evident in the countless producers who have been inspired by its energy, from the early days of Chicago house to the global electronic dance music scene we know today. It is a testament to the power of creativity and the importance of taking risks, both musically and personally, to create something truly unique and memorable.

Repetition, repetition, repetition—yes, the use of this literary device is employed twice within this review. In doing so, the repetition serves to emphasize the significance of certain elements in the narrative, such as the genre, the message, and the influence of Maurice Joshua’s work. The reiteration of these ideas helps to reinforce their importance, creating a lasting impression on the reader.

In conclusion, Maurice Joshua’s “I Gotta Big Dick” is a seminal record in the annals of electronic dance music history, particularly within the Chicago house scene. From its infectious rhythms to its bold and innovative production techniques, the EP has left an indelible mark on the genre and continues to inspire generations of producers and DJs. Its message of self-expression and liberation resonates just as strongly today as it did when it was first released in 1988. The passage of time has only served to amplify the significance of this record, solidifying its status as an enduring classic in the world of dance music.