2016-11-23: Don't ask me, because I don't know why
While I wasn't much into the original first wave of hip hop groups, the breakbeat EDM producers loved them and remix tracks like this one started showing up in all the DJ stores and sites, which was great because these tracks worked for the underground party crowd I actually like Djing for as well as the standard party crowds I DJed for to make money.
2016-11-22: So give me this award, and let's not make it the last
Like Seinfeld, I really liked ATCQ before I moved to NY, but their greatness crystallized for me when I actual understood the local references. For instance, I didn't know what a Carvel was until I saw them all over L.I. Also, I ended up working with a couple of guys who were, at least tangentially, part of their crew and had some good High School Q-Tip stories.
It was good to see the reunion on SNL with Dave Chappell a week ago, but without Phife, it was weird. As always, though, Shaheed's beats were dope.
It was good to see the reunion on SNL with Dave Chappell a week ago, but without Phife, it was weird. As always, though, Shaheed's beats were dope.
2016-11-21: I watch for the power to run out on the moon (And that'll be sometime soon)
It's old skool week. There was a brief spell in which I listened to quite a bit of ERM and actually helped make beats for a co-worker and his friend. It was a strange time. In a way, it seemed more open as electronic beat-driven music was really just emerging and no one had really laid claimed to anything. We all just sort of did our thing and shared our successes/failures with others so they could do it, too.
But I also remember having to duck down in the back seat on a few occasions as the only white guy in the car as we drove through neighborhoods having Friday night block parties on the way to the studio. And even then, there was an undercurrent of violence. I sort of checked out when one of the MCs we worked with brought a sawed-off shotgun into the studio because he didn't want the cops to somehow see it in his car. He never threatened anyone to any extent with it, but it was enough to know that wasn't my scene.
Anyway, I always loved how the East Coast pulled from their jazz roots. Jazz can be pretty great when you have the time to listen to it, but it doesn't always fit well within the 2:58 wax cylinder song structure to which we've become so accustomed. And no one could afford the licensing to cut up and sample similar source materials these days, so there more than one reason why you don't hear titles like the ones being posted this week. I don't think we're richer for it. Much of that source material is obscure and now it's going to stay that way.
Added Bonus video:
But I also remember having to duck down in the back seat on a few occasions as the only white guy in the car as we drove through neighborhoods having Friday night block parties on the way to the studio. And even then, there was an undercurrent of violence. I sort of checked out when one of the MCs we worked with brought a sawed-off shotgun into the studio because he didn't want the cops to somehow see it in his car. He never threatened anyone to any extent with it, but it was enough to know that wasn't my scene.
Anyway, I always loved how the East Coast pulled from their jazz roots. Jazz can be pretty great when you have the time to listen to it, but it doesn't always fit well within the 2:58 wax cylinder song structure to which we've become so accustomed. And no one could afford the licensing to cut up and sample similar source materials these days, so there more than one reason why you don't hear titles like the ones being posted this week. I don't think we're richer for it. Much of that source material is obscure and now it's going to stay that way.
11.13 GDT: The Carey Price Experience Featuring Carey Price with Special Guest Carey Price (Paul Simon You Can Call Me Al Remix) @ The Team with More Then One Centers - We got 2 Centers!!!
A Kids in the Hall reference AND a Mr. Show Reference?
For Free??
WITH HYPERBOLE???
For Free??
WITH HYPERBOLE???
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