this is what I'm referring too how sampling proliferated then excascerbated throughout the recording industry.......

I did some research today and what I came across totally blew me away.......

this is what I'm referring to by taking the lesser road travelled and who's authentic and who's not when it comes to one's musical output....

we're talking about all world hijacking....which has led to teh very dynamic being discussed over the weekend

one of the most successful commercial artists of the 90s practiced the art of sampling genuine r&b, funk, and contemporary music to fuel his gospel initiative, receiving critical acclaim in the process, earning Grammy Awards along the way........

Mr. Kirk Franklin........now check out the number of people he has sampled from...

As an artist, Kirk sampled 25 different tracks....

as a producer, he sampled 9 different tracks...

in total, he sampled the work of 34 different people......not 1, not 2, not even 5.......HE SAMPLED 34.....

FROM 1993-2011, he sampled right from the opening gate

breaking it down year by year

in 1993, his very first hit song was a sample, WHY WE SING samples Ethel Waters song HIS EYES ON THE SPARROW (1952)

in 1995, his song FAITH sampled not one but TWO ARTISTS....The Pointer Sisters YES WE CAN YES WE CAN (1973), and TELL ME SOMETHING GOOD by Rufus and Chaka Khan (1974)

then arguably his most famous track: STOMP features an all time sample of ONE NATION UNDER THE GROOVE by Funkadelic (1978)

but way, we just getting started

in 1997, his song YOU ARE THE ONLY ONE....he sampled the Jacksons staple song HEARTBREAK HOTEL of 1981...yesss, he including Mike into the repertoire

in 1998, his song IF YOU'VE BEEN DELIVERED....he goes the hip-hop route, and sampled the Beastie Boys all time song PAUL REVERE (1986)

the next song PRAISE JOINT, he sampled ONE NATION UNDER THE GROOVE YET AGAIN (now we are entering uncharted waters, sampling the same song to cut multiple tracks), he also samples George Kranz's DIN DAA DAA (1983)

his next song REVOLUTIONS in 1998, samples Notorius BIG, PUFF DIDDY, MASE, and KELLY PRICE collaboration MO MONEY MORE PROBLEMS in 1997, a song that had only been released a year before

by 2005, he reaches for the entire gamut....his song IMAGINE me samples L.T.D.'s classic STRANGER of 1979

the next song KEEP YOUR HEAD samples one of the greatest all time inspirationals....EARTH WIND AND FIRE's signature KEEP YOUR HEAD TO THE SKY of 1973....now the song titles are being sampled in this case

the next song of 2005, LET IT GO samples TEAR'S FOR FEARS monster anthem SHOUT of 1985 (these guys were awesome)

his next song of that year LOOKING FOR YOU......check this one out...he samples two different songs from the same artist....PATRICE RUSHEN'S jams HAVEN'T YOU HEARD (1979) and FEEL SO REAL (WON'T LET GO) of 1984....I used to love that song.....

the next release SUNSHINE features a sample of a singer named Randy Crawford's song YOU BRING THE SONG OUT (1981) (I'm not familiar with her)...and Jennifer Holiday's SAY YOU LOVE ME (1988)

teh next song WHY features a sample of one of the greatest songs to ever hit the airwaves: DENIECE WILLIAMS' masterpiece FREE (1976)

let's move on to the next one

the song he produced for the gospel act MARY MARY....AND I features two samples: BETTINA by BOLA SETE (jazz) of 1971 and SNEAKING IN THE BACK by Tom Scott and the LA Express (1974)

the next song of 2007, DECLARATION (THIS IS IT) samples TAKE ME TO THE MARDI GRAS by BOB JAMES (1975)..a song that's been sampled ad nauseum...but this wouldn't be the only time Kirk sampled this record.........and he samples the great KENNY LOGGINS all time world league jam THIS IS IT....not only does Kirk sample the song but uses the very title of the music he sampled........

but wait a minute.....hold your horses........this is a shell shocker.........

his very next jam...DANCE...guess what it samples.......none other than one of the funkiest cuts every produced...........777-9311 by THE TIME (1982)..everybody was rockin this jam that winter.......

and his last song to date, or I should say, as of 2011.....his song I SMILE, samples, not one, not two (sounding like the Miami heat)...but THREE artists.......

FOOL YOURSELF by LITTLE FEAT (1973), he samples TAKE ME TO THE MARDI GRAS for a 2nd time, and SMILE by 2PAC feat. Scarface and Johnny P

---------------------------------------------------------------------------------------------------------

KIRK FRANKLIN won GRAMMYS off this stuff........and he won multiple grammys

you deligitimize music when you pratice this level of infringement...and he sampled songs from 4-5 different decades....

if we had access to studio equipment and knew how to record.....WE COULD HAVE MADE THESE SONGS.....it's not real music.....

but you mean to tell me an artist like BARRY WHITE, a man who took the art of orchestration to a higher plane, who sold over 100 million records in his career, never won a grammy until the ends of the 1990s, the man who created LOVE UNLIMITED ORCHESTRA, had to wait almost 30 years

MARVIN GAYE had to wait over 20 years, after all those great songs, all those landmark albums to get a Grammy when he was in his 40s

KIRK has more grammys than both of these guys put together.................and got his first grammy w/in 5years......

this is where we are at now as far as the state of music goes......

[Edited 4/8/13 18:14pm]

Scorp said:

this is what I'm referring too how sampling proliferated then excascerbated throughout the recording industry.......

I did some research today and what I came across totally blew me away.......

this is what I'm referring to by taking the lesser road travelled and who's authentic and who's not when it comes to one's musical output....

we're talking about all world hijacking....which has led to teh very dynamic being discussed over the weekend

one of the most successful commercial artists of the 90s practiced the art of sampling genuine r&b, funk, and contemporary music to fuel his gospel initiative, receiving critical acclaim in the process, earning Grammy Awards along the way........

Mr. Kirk Franklin........now check out the number of people he has sampled from...

As an artist, Kirk sampled 25 different tracks....

as a producer, he sampled 9 different tracks...

in total, he sampled the work of 34 different people......not 1, not 2, not even 5.......HE SAMPLED 34.....

FROM 1993-2011, he sampled right from the opening gate

breaking it down year by year

in 1993, his very first hit song was a sample, WHY WE SING samples Ethel Waters song HIS EYES ON THE SPARROW (1952)

in 1995, his song FAITH sampled not one but TWO ARTISTS....The Pointer Sisters YES WE CAN YES WE CAN (1973), and TELL ME SOMETHING GOOD by Rufus and Chaka Khan (1974)

then arguably his most famous track: STOMP features an all time sample of ONE NATION UNDER THE GROOVE by Funkadelic (1978)

but way, we just getting started

in 1997, his song YOU ARE THE ONLY ONE....he sampled the Jacksons staple song HEARTBREAK HOTEL of 1981...yesss, he including Mike into the repertoire

in 1998, his song IF YOU'VE BEEN DELIVERED....he goes the hip-hop route, and sampled the Beastie Boys all time song PAUL REVERE (1986)

the next song PRAISE JOINT, he sampled ONE NATION UNDER THE GROOVE YET AGAIN (now we are entering uncharted waters, sampling the same song to cut multiple tracks), he also samples George Kranz's DIN DAA DAA (1983)

his next song REVOLUTIONS in 1998, samples Notorius BIG, PUFF DIDDY, MASE, and KELLY PRICE collaboration MO MONEY MORE PROBLEMS in 1997, a song that had only been released a year before

by 2005, he reaches for the entire gamut....his song IMAGINE me samples L.T.D.'s classic STRANGER of 1979

the next song KEEP YOUR HEAD samples one of the greatest all time inspirationals....EARTH WIND AND FIRE's signature KEEP YOUR HEAD TO THE SKY of 1973....now the song titles are being sampled in this case

the next song of 2005, LET IT GO samples TEAR'S FOR FEARS monster anthem SHOUT of 1985 (these guys were awesome)

his next song of that year LOOKING FOR YOU......check this one out...he samples two different songs from the same artist....PATRICE RUSHEN'S jams HAVEN'T YOU HEARD (1979) and FEEL SO REAL (WON'T LET GO) of 1984....I used to love that song.....

the next release SUNSHINE features a sample of a singer named Randy Crawford's song YOU BRING THE SONG OUT (1981) (I'm not familiar with her)...and Jennifer Holiday's SAY YOU LOVE ME (1988)

teh next song WHY features a sample of one of the greatest songs to ever hit the airwaves: DENIECE WILLIAMS' masterpiece FREE (1976)

let's move on to the next one

the song he produced for the gospel act MARY MARY....AND I features two samples: BETTINA by BOLA SETE (jazz) of 1971 and SNEAKING IN THE BACK by Tom Scott and the LA Express (1974)

the next song of 2007, DECLARATION (THIS IS IT) samples TAKE ME TO THE MARDI GRAS by BOB JAMES (1975)..a song that's been sampled ad nauseum...but this wouldn't be the only time Kirk sampled this record.........and he samples the great KENNY LOGGINS all time world league jam THIS IS IT....not only does Kirk sample the song but uses the very title of the music he sampled........

but wait a minute.....hold your horses........this is a shell shocker.........

his very next jam...DANCE...guess what it samples.......none other than one of the funkiest cuts every produced...........777-9311 by THE TIME (1982)..everybody was rockin this jam that winter.......

and his last song to date, or I should say, as of 2011.....his song I SMILE, samples, not one, not two (sounding like the Miami heat)...but THREE artists.......

FOOL YOURSELF by LITTLE FEAT (1973), he samples TAKE ME TO THE MARDI GRAS for a 2nd time, and SMILE by 2PAC feat. Scarface and Johnny P

---------------------------------------------------------------------------------------------------------

KIRK FRANKLIN won GRAMMYS off this stuff........and he won multiple grammys

you deligitimize music when you pratice this level of infringement...and he sampled songs from 4-5 different decades....

if we had access to studio equipment and knew how to record.....WE COULD HAVE MADE THESE SONGS.....it's not real music.....

but you mean to tell me an artist like BARRY WHITE, a man who took the art of orchestration to a higher plane, who sold over 100 million records in his career, never won a grammy until the ends of the 1990s, the man who created LOVE UNLIMITED ORCHESTRA, had to wait almost 30 years

MARVIN GAYE had to wait over 20 years, after all those great songs, all those landmark albums to get a Grammy when he was in his 40s

KIRK has more grammys than both of these guys put together.................and got his first grammy w/in 5years......

this is where we are at now as far as the state of music goes......

[Edited 4/8/13 18:14pm]

Yet there are youngins on here that will argue you up and down that Kirk Franklin is JUST as creative as the people he sampled.

CynicKill said:

Scorp said:

this is what I'm referring too how sampling proliferated then excascerbated throughout the recording industry.......

I did some research today and what I came across totally blew me away.......

this is what I'm referring to by taking the lesser road travelled and who's authentic and who's not when it comes to one's musical output....

we're talking about all world hijacking....which has led to teh very dynamic being discussed over the weekend

one of the most successful commercial artists of the 90s practiced the art of sampling genuine r&b, funk, and contemporary music to fuel his gospel initiative, receiving critical acclaim in the process, earning Grammy Awards along the way........

Mr. Kirk Franklin........now check out the number of people he has sampled from...

As an artist, Kirk sampled 25 different tracks....

as a producer, he sampled 9 different tracks...

in total, he sampled the work of 34 different people......not 1, not 2, not even 5.......HE SAMPLED 34.....

FROM 1993-2011, he sampled right from the opening gate

breaking it down year by year

in 1993, his very first hit song was a sample, WHY WE SING samples Ethel Waters song HIS EYES ON THE SPARROW (1952)

in 1995, his song FAITH sampled not one but TWO ARTISTS....The Pointer Sisters YES WE CAN YES WE CAN (1973), and TELL ME SOMETHING GOOD by Rufus and Chaka Khan (1974)

then arguably his most famous track: STOMP features an all time sample of ONE NATION UNDER THE GROOVE by Funkadelic (1978)

but way, we just getting started

in 1997, his song YOU ARE THE ONLY ONE....he sampled the Jacksons staple song HEARTBREAK HOTEL of 1981...yesss, he including Mike into the repertoire

in 1998, his song IF YOU'VE BEEN DELIVERED....he goes the hip-hop route, and sampled the Beastie Boys all time song PAUL REVERE (1986)

the next song PRAISE JOINT, he sampled ONE NATION UNDER THE GROOVE YET AGAIN (now we are entering uncharted waters, sampling the same song to cut multiple tracks), he also samples George Kranz's DIN DAA DAA (1983)

his next song REVOLUTIONS in 1998, samples Notorius BIG, PUFF DIDDY, MASE, and KELLY PRICE collaboration MO MONEY MORE PROBLEMS in 1997, a song that had only been released a year before

by 2005, he reaches for the entire gamut....his song IMAGINE me samples L.T.D.'s classic STRANGER of 1979

the next song KEEP YOUR HEAD samples one of the greatest all time inspirationals....EARTH WIND AND FIRE's signature KEEP YOUR HEAD TO THE SKY of 1973....now the song titles are being sampled in this case

the next song of 2005, LET IT GO samples TEAR'S FOR FEARS monster anthem SHOUT of 1985 (these guys were awesome)

his next song of that year LOOKING FOR YOU......check this one out...he samples two different songs from the same artist....PATRICE RUSHEN'S jams HAVEN'T YOU HEARD (1979) and FEEL SO REAL (WON'T LET GO) of 1984....I used to love that song.....

the next release SUNSHINE features a sample of a singer named Randy Crawford's song YOU BRING THE SONG OUT (1981) (I'm not familiar with her)...and Jennifer Holiday's SAY YOU LOVE ME (1988)

teh next song WHY features a sample of one of the greatest songs to ever hit the airwaves: DENIECE WILLIAMS' masterpiece FREE (1976)

let's move on to the next one

the song he produced for the gospel act MARY MARY....AND I features two samples: BETTINA by BOLA SETE (jazz) of 1971 and SNEAKING IN THE BACK by Tom Scott and the LA Express (1974)

the next song of 2007, DECLARATION (THIS IS IT) samples TAKE ME TO THE MARDI GRAS by BOB JAMES (1975)..a song that's been sampled ad nauseum...but this wouldn't be the only time Kirk sampled this record.........and he samples the great KENNY LOGGINS all time world league jam THIS IS IT....not only does Kirk sample the song but uses the very title of the music he sampled........

but wait a minute.....hold your horses........this is a shell shocker.........

his very next jam...DANCE...guess what it samples.......none other than one of the funkiest cuts every produced...........777-9311 by THE TIME (1982)..everybody was rockin this jam that winter.......

and his last song to date, or I should say, as of 2011.....his song I SMILE, samples, not one, not two (sounding like the Miami heat)...but THREE artists.......

FOOL YOURSELF by LITTLE FEAT (1973), he samples TAKE ME TO THE MARDI GRAS for a 2nd time, and SMILE by 2PAC feat. Scarface and Johnny P

---------------------------------------------------------------------------------------------------------

KIRK FRANKLIN won GRAMMYS off this stuff........and he won multiple grammys

you deligitimize music when you pratice this level of infringement...and he sampled songs from 4-5 different decades....

if we had access to studio equipment and knew how to record.....WE COULD HAVE MADE THESE SONGS.....it's not real music.....

but you mean to tell me an artist like BARRY WHITE, a man who took the art of orchestration to a higher plane, who sold over 100 million records in his career, never won a grammy until the ends of the 1990s, the man who created LOVE UNLIMITED ORCHESTRA, had to wait almost 30 years

MARVIN GAYE had to wait over 20 years, after all those great songs, all those landmark albums to get a Grammy when he was in his 40s

KIRK has more grammys than both of these guys put together.................and got his first grammy w/in 5years......

this is where we are at now as far as the state of music goes......

[Edited 4/8/13 18:14pm]

Yet there are youngins on here that will argue you up and down that Kirk Franklin is JUST as creative as the people he sampled.

exactly

when I read this list.......34 different artists.....I was just shaking my head in befuddlement

and he won Grammy Awards for that........his entire musical career has been based on the sampling concept

Sampling is so effective because those artists know who do rely on it, that sampled music is the hook, that's what's going to draw the listener's attention, it packs the punch, it sells the song, it's the selling point, but it aint real music

it's like just sitting there and going thru the record collection and saying "today i'm going to sample this one and the next time, I'll hit that one"

it's like, I can turn on the radio and listen to a song and within 2 beats, can tell if a record has sampled or not.....that's how bad it is

mjscarousal said:

when they know its crap?

This is not another complaint thread but a serious question because I just dont understand how artists who play instruments, write their own music and put time into their music can compliment media stars and puppets.

Are they just punkasses (afraid of backlash) or do you think they sincerely enjoy bad music?

I do not know how many times I have heard iconic rappers compliment Drake, Lil Wayne, Nikki music etc likewise with the singers.

I just dont understand it

Are they doing it so they can be "hip"

What are they smoking?

Nobody out now is making any thing iconic or half way descent on the radio. The radio has been shit for over a decade now and these legendary singers glorifying these wack ass acts.

I think most of these celebs are full of shit. They say what they think the audience wants to hear. I think part of it is to sound hip. It could also be incase they are asked to partake in a collaboration with these no-talent hacks. God knows this type of shit makes millions.

I'm not saying all new artists are untalented, but the large majority sure as hell are, but nobody wants to be the guy who says he hates Beiber or Drake.

We need someone like Sean Penn that has the balls to say what he really thinks.

Call me a music snob, but I will take the Beatles, Stones, Marvin and Lenny (yes Lenny) over the hacks out there today claiming to be making good music.

^ HELL YEA!!! Preach!

Empress said:

mjscarousal said:

when they know its crap?

This is not another complaint thread but a serious question because I just dont understand how artists who play instruments, write their own music and put time into their music can compliment media stars and puppets.

Are they just punkasses (afraid of backlash) or do you think they sincerely enjoy bad music?

I do not know how many times I have heard iconic rappers compliment Drake, Lil Wayne, Nikki music etc likewise with the singers.

I just dont understand it

Are they doing it so they can be "hip"

What are they smoking?

Nobody out now is making any thing iconic or half way descent on the radio. The radio has been shit for over a decade now and these legendary singers glorifying these wack ass acts.

I think most of these celebs are full of shit. They say what they think the audience wants to hear. I think part of it is to sound hip. It could also be incase they are asked to partake in a collaboration with these no-talent hacks. God knows this type of shit makes millions.

I'm not saying all new artists are untalented, but the large majority sure as hell are, but nobody wants to be the guy who says he hates Beiber or Drake.

We need someone like Sean Penn that has the balls to say what he really thinks.

Call me a music snob, but I will take the Beatles, Stones, Marvin and Lenny (yes Lenny) over the hacks out there today claiming to be making good music.

Unfortunately some of our generation's artists want to be relevant and would sell their souls for a dollar.

mjscarousal said:

when they know its crap?

This is not another complaint thread but a serious question because I just dont understand how artists who play instruments, write their own music and put time into their music can compliment media stars and puppets.

Are they just punkasses (afraid of backlash) or do you think they sincerely enjoy bad music?

I do not know how many times I have heard iconic rappers compliment Drake, Lil Wayne, Nikki music etc likewise with the singers.

I just dont understand it

Are they doing it so they can be "hip"

What are they smoking?

Nobody out now is making any thing iconic or half way descent on the radio. The radio has been shit for over a decade now and these legendary singers glorifying these wack ass acts.

One more reason why I miss the late Rick James is because he was one of the few legends brave enough to call out the flaws of mainstrema music. Remember when he dissed Alicia Keys?!?

[Edited 4/9/13 23:30pm]

Graycap23 said:

Stymie said:

Then I'll be a music snob and a bigot.

Where in the hell is the redeeming value in soulja boy, Nikki manag, 2 chainz, Ross, Tyga,.....etc. straight GARBAGE.

Did you just called Nicki Minaj, Nicki MANag?!?

But anyway, for every Ice-T that was right for dissing Soulja Boy, there was a Snoop Dogg, 50Cent, Mr. Scarface, Rev Run, and KRS-ONE that said Soulja Boy was welcome to hip-hop.

THIS is why the music industry will continue to go further down hill. There are too many MFers within the industry that are lowing the stardards to make it easy for most of the current generation of artists to be below average.

Scorp said:

his next song of that year LOOKING FOR YOU......check this one out...he samples two different songs from the same artist....PATRICE RUSHEN'S jams HAVEN'T YOU HEARD (1979) and FEEL SO REAL (WON'T LET GO) of 1984....I used to love that song.....

I like that one, but I also love Patrice's.

I remember a while ago some talk show that had Glady's Knight & Della Reese and the host asked them what they thought of Rap Music, at the time gansta rap was dominate. Glady's Knight lit up and looked at the audience saying that she loved it and thought it was cool. Della Reese said she didn't and listed reasons why she didn't.

Della had a thought out reason. It seemed Glady's was trying to appear hip and 'down'

OldFriends4Sale said:

SoulAlive said:

OldFriends4Sale said:

I remember a while ago some talk show that had Glady's Knight & Della Reese and the host asked them what they thought of Rap Music, at the time gansta rap was dominate. Glady's Knight lit up and looked at the audience saying that she loved it and thought it was cool. Della Reese said she didn't and listed reasons why she didn't.

Della had a thought out reason. It seemed Glady's was trying to appear hip and 'down'

I'm surprised that Gladys responded that way.

I remember in a 1994 interview,she complained about the song "Freak Me" by Silk.

She said "today's kids need to hear something more substantial than 'let me lick you up and down'

lol

I saw a show that had legendary jazz singer Nancy Wilson and Adina Howard (Freak Like Me)

And Adina said how Nancy Wilson was a great inspiration and so on, and Nancy Wilson (sitting next to her) looked at her and said she didn't see that as a compliment with the kind of stuff Adina was singing about.

I thought it was so cool seeing her get checked like that.

CynicKill said:

Scorp said:

this is what I'm referring too how sampling proliferated then excascerbated throughout the recording industry.......

I did some research today and what I came across totally blew me away.......

this is what I'm referring to by taking the lesser road travelled and who's authentic and who's not when it comes to one's musical output....

we're talking about all world hijacking....which has led to teh very dynamic being discussed over the weekend

one of the most successful commercial artists of the 90s practiced the art of sampling genuine r&b, funk, and contemporary music to fuel his gospel initiative, receiving critical acclaim in the process, earning Grammy Awards along the way........

Mr. Kirk Franklin........now check out the number of people he has sampled from...

As an artist, Kirk sampled 25 different tracks....

as a producer, he sampled 9 different tracks...

in total, he sampled the work of 34 different people......not 1, not 2, not even 5.......HE SAMPLED 34.....

FROM 1993-2011, he sampled right from the opening gate

breaking it down year by year

in 1993, his very first hit song was a sample, WHY WE SING samples Ethel Waters song HIS EYES ON THE SPARROW (1952)

in 1995, his song FAITH sampled not one but TWO ARTISTS....The Pointer Sisters YES WE CAN YES WE CAN (1973), and TELL ME SOMETHING GOOD by Rufus and Chaka Khan (1974)

then arguably his most famous track: STOMP features an all time sample of ONE NATION UNDER THE GROOVE by Funkadelic (1978)

but way, we just getting started

in 1997, his song YOU ARE THE ONLY ONE....he sampled the Jacksons staple song HEARTBREAK HOTEL of 1981...yesss, he including Mike into the repertoire

in 1998, his song IF YOU'VE BEEN DELIVERED....he goes the hip-hop route, and sampled the Beastie Boys all time song PAUL REVERE (1986)

the next song PRAISE JOINT, he sampled ONE NATION UNDER THE GROOVE YET AGAIN (now we are entering uncharted waters, sampling the same song to cut multiple tracks), he also samples George Kranz's DIN DAA DAA (1983)

his next song REVOLUTIONS in 1998, samples Notorius BIG, PUFF DIDDY, MASE, and KELLY PRICE collaboration MO MONEY MORE PROBLEMS in 1997, a song that had only been released a year before

by 2005, he reaches for the entire gamut....his song IMAGINE me samples L.T.D.'s classic STRANGER of 1979

the next song KEEP YOUR HEAD samples one of the greatest all time inspirationals....EARTH WIND AND FIRE's signature KEEP YOUR HEAD TO THE SKY of 1973....now the song titles are being sampled in this case

the next song of 2005, LET IT GO samples TEAR'S FOR FEARS monster anthem SHOUT of 1985 (these guys were awesome)

his next song of that year LOOKING FOR YOU......check this one out...he samples two different songs from the same artist....PATRICE RUSHEN'S jams HAVEN'T YOU HEARD (1979) and FEEL SO REAL (WON'T LET GO) of 1984....I used to love that song.....

the next release SUNSHINE features a sample of a singer named Randy Crawford's song YOU BRING THE SONG OUT (1981) (I'm not familiar with her)...and Jennifer Holiday's SAY YOU LOVE ME (1988)

teh next song WHY features a sample of one of the greatest songs to ever hit the airwaves: DENIECE WILLIAMS' masterpiece FREE (1976)

let's move on to the next one

the song he produced for the gospel act MARY MARY....AND I features two samples: BETTINA by BOLA SETE (jazz) of 1971 and SNEAKING IN THE BACK by Tom Scott and the LA Express (1974)

the next song of 2007, DECLARATION (THIS IS IT) samples TAKE ME TO THE MARDI GRAS by BOB JAMES (1975)..a song that's been sampled ad nauseum...but this wouldn't be the only time Kirk sampled this record.........and he samples the great KENNY LOGGINS all time world league jam THIS IS IT....not only does Kirk sample the song but uses the very title of the music he sampled........

but wait a minute.....hold your horses........this is a shell shocker.........

his very next jam...DANCE...guess what it samples.......none other than one of the funkiest cuts every produced...........777-9311 by THE TIME (1982)..everybody was rockin this jam that winter.......

and his last song to date, or I should say, as of 2011.....his song I SMILE, samples, not one, not two (sounding like the Miami heat)...but THREE artists.......

FOOL YOURSELF by LITTLE FEAT (1973), he samples TAKE ME TO THE MARDI GRAS for a 2nd time, and SMILE by 2PAC feat. Scarface and Johnny P

---------------------------------------------------------------------------------------------------------

KIRK FRANKLIN won GRAMMYS off this stuff........and he won multiple grammys

you deligitimize music when you pratice this level of infringement...and he sampled songs from 4-5 different decades....

if we had access to studio equipment and knew how to record.....WE COULD HAVE MADE THESE SONGS.....it's not real music.....

but you mean to tell me an artist like BARRY WHITE, a man who took the art of orchestration to a higher plane, who sold over 100 million records in his career, never won a grammy until the ends of the 1990s, the man who created LOVE UNLIMITED ORCHESTRA, had to wait almost 30 years

MARVIN GAYE had to wait over 20 years, after all those great songs, all those landmark albums to get a Grammy when he was in his 40s

KIRK has more grammys than both of these guys put together.................and got his first grammy w/in 5years......

this is where we are at now as far as the state of music goes......

[Edited 4/8/13 18:14pm]

Yet there are youngins on here that will argue you up and down that Kirk Franklin is JUST as creative as the people he sampled.

I agree ^^

A lot of Mary J Bliges fame came off of sampled music ala Puff Daddy

She had some good songs that where not, but most of her early career that made her popular

where sing overs or samples of older classic RnB music

SoulAlive said:

OldFriends4Sale said:

I remember a while ago some talk show that had Glady's Knight & Della Reese and the host asked them what they thought of Rap Music, at the time gansta rap was dominate. Glady's Knight lit up and looked at the audience saying that she loved it and thought it was cool. Della Reese said she didn't and listed reasons why she didn't.

Della had a thought out reason. It seemed Glady's was trying to appear hip and 'down'

I'm surprised that Gladys responded that way.I remember in a 1994 interview,she complained about the song "Freak Me" by Silk.She said "today's kids need to hear something more substantial than 'let me lick you up and down'

"Save The Overtime For Me" was probably the last time Gladys had checked in with hip hop, so of course she thought it was fine.

Cinny said:

SoulAlive said:

OldFriends4Sale said: I'm surprised that Gladys responded that way.I remember in a 1994 interview,she complained about the song "Freak Me" by Silk.She said "today's kids need to hear something more substantial than 'let me lick you up and down'

"Save The Overtime For Me" was probably the last time Gladys had checked in with hip hop, so of course she thought it was fine.

I looooooooved that jam........all time...

TonyVanDam said:

Graycap23 said:

Stymie said: Where in the hell is the redeeming value in soulja boy, Nikki manag, 2 chainz, Ross, Tyga,.....etc. straight GARBAGE.

Did you just called Nicki Minaj, Nicki MANag?!?

But anyway, for every Ice-T that was right for dissing Soulja Boy, there was a Snoop Dogg, 50Cent, Mr. Scarface, Rev Run, and KRS-ONE that said Soulja Boy was welcome to hip-hop.

THIS is why the music industry will continue to go further down hill. There are too many MFers within the industry that are lowing the stardards to make it easy for most of the current generation of artists to be below average.

U think I know how 2 spell that mess?

Graycap23 said:

TonyVanDam said:

Did you just called Nicki Minaj, Nicki MANag?!?

But anyway, for every Ice-T that was right for dissing Soulja Boy, there was a Snoop Dogg, 50Cent, Mr. Scarface, Rev Run, and KRS-ONE that said Soulja Boy was welcome to hip-hop.

THIS is why the music industry will continue to go further down hill. There are too many MFers within the industry that are lowing the stardards to make it easy for most of the current generation of artists to be below average.

U think I know how 2 spell that mess?

I guess not!

Scorp said:

CynicKill said:

Yet there are youngins on here that will argue you up and down that Kirk Franklin is JUST as creative as the people he sampled.

exactly

when I read this list.......34 different artists.....I was just shaking my head in befuddlement

and he won Grammy Awards for that........his entire musical career has been based on the sampling concept

Sampling is so effective because those artists know who do rely on it, that sampled music is the hook, that's what's going to draw the listener's attention, it packs the punch, it sells the song, it's the selling point, but it aint real music

it's like just sitting there and going thru the record collection and saying "today i'm going to sample this one and the next time, I'll hit that one"

it's like, I can turn on the radio and listen to a song and within 2 beats, can tell if a record has sampled or not.....that's how bad it is

You wanna what's funny? Kirk actually sampled even more than what is listed here, although this is a nice list that sums your point. But some of those samples that come to mind are stolen unofficial or uncredited, if you will.

OldFriends4Sale said:

CynicKill said:

Yet there are youngins on here that will argue you up and down that Kirk Franklin is JUST as creative as the people he sampled.

I agree ^^

A lot of Mary J Bliges fame came off of sampled music ala Puff Daddy

She had some good songs that where not, but most of her early career that made her popular

where sing overs or samples of older classic RnB music

you're absolutely right

Adisa said:

Scorp said:

exactly

when I read this list.......34 different artists.....I was just shaking my head in befuddlement

and he won Grammy Awards for that........his entire musical career has been based on the sampling concept

Sampling is so effective because those artists know who do rely on it, that sampled music is the hook, that's what's going to draw the listener's attention, it packs the punch, it sells the song, it's the selling point, but it aint real music

it's like just sitting there and going thru the record collection and saying "today i'm going to sample this one and the next time, I'll hit that one"

it's like, I can turn on the radio and listen to a song and within 2 beats, can tell if a record has sampled or not.....that's how bad it is

You wanna what's funny? Kirk actually sampled even more than what is listed here, although this is a nice list that sums your point. But some of those samples that come to mind are stolen unofficial or uncredited, if you will.

it's insane aint it and you're right.....it's all world hijacking

Scorp said:

Adisa said:

You wanna what's funny? Kirk actually sampled even more than what is listed here, although this is a nice list that sums your point. But some of those samples that come to mind are stolen unofficial or uncredited, if you will.

it's insane aint it and you're right.....it's all world hijacking

He Reigns (Our God is An Awesome God)

Lovely Day (Lovely Day, Bill Withers)

The original version of You Are The Only One is a blatant uncredited interpolation of arguably the best song on the S.O.T.T. album And these are "uncredited", too.

Melodies From Heaven (Anniversay, Tony, Toni, Tone)

My Desire/ Melodies From Heaven "live" medley (Stay With Me by DeBarge)

Jesus Is The Reason For The Season (Big Poppa by Notorious B.I.G. and Baby by Brandy)

Debarge Edit

[Edited 4/10/13 19:37pm]

Adisa said:

Scorp said:

it's insane aint it and you're right.....it's all world hijacking

He Reigns (Our God is An Awesome God)

Lovely Day (Lovely Day, Bill Withers)

The original version of You Are The Only One is a blatant uncredited interpolation of arguably the best song on the S.O.T.T. album And these are "uncredited", too.

Melodies From Heaven (Anniversay, Tony, Toni, Tone)

My Desire/ Melodies From Heaven "live" medley (Stay With Me by DeBarge)

Jesus Is The Reason For The Season (Big Poppa by Notorious B.I.G. and Baby by Brandy)

Debarge Edit

[Edited 4/10/13 19:37pm]

wow, he got them too?........

Im not a hater by any stretch, but there's no way that anyone who samples on this extreme level can be viewed as an artist.....

all those great artists who really deserve credit, just about all of them was phasd out due to a movement in the industry that sought to exploit culture at all cost, removed the authentic presentation and brought forth sampling in flux....

the transition was done in such hostlie fashion, it because very difficult for the actual artists to challenge it, because the majority did not own those songrights....it's tragic......

mjscarousal said:

when they know its crap?

This is not another complaint thread but a serious question because I just dont understand how artists who play instruments, write their own music and put time into their music can compliment media stars and puppets.

Are they just punkasses (afraid of backlash) or do you think they sincerely enjoy bad music?

I do not know how many times I have heard iconic rappers compliment Drake, Lil Wayne, Nikki music etc likewise with the singers.

I just dont understand it

Are they doing it so they can be "hip"

What are they smoking?

Nobody out now is making any thing iconic or half way descent on the radio. The radio has been shit for over a decade now and these legendary singers glorifying these wack ass acts.

But who could resist this????

http://favimages.com/image/303116/

SoulAlive said:

OldFriends4Sale said:

I remember a while ago some talk show that had Glady's Knight & Della Reese and the host asked them what they thought of Rap Music, at the time gansta rap was dominate. Glady's Knight lit up and looked at the audience saying that she loved it and thought it was cool. Della Reese said she didn't and listed reasons why she didn't.

Della had a thought out reason. It seemed Glady's was trying to appear hip and 'down'

I'm surprised that Gladys responded that way.I remember in a 1994 interview,she complained about the song "Freak Me" by Silk.She said "today's kids need to hear something more substantial than 'let me lick you up and down'

Maybe niecy Brandy hipped Gladys to some mcs lol

TonyVanDam said:

mjscarousal said:

when they know its crap?

This is not another complaint thread but a serious question because I just dont understand how artists who play instruments, write their own music and put time into their music can compliment media stars and puppets.

Are they just punkasses (afraid of backlash) or do you think they sincerely enjoy bad music?

I do not know how many times I have heard iconic rappers compliment Drake, Lil Wayne, Nikki music etc likewise with the singers.

I just dont understand it

Are they doing it so they can be "hip"

What are they smoking?

Nobody out now is making any thing iconic or half way descent on the radio. The radio has been shit for over a decade now and these legendary singers glorifying these wack ass acts.

One more reason why I miss the late Rick James is because he was one of the few legends brave enough to call out the flaws of mainstrema music. Remember when he dissed Alicia Keys?!?

[Edited 4/9/13 23:30pm]

Yes I remember reading that some yrs back, I miss him and his realness. I feel that he is pretty underrated as well.

Sampling old songs, isn't the problem but rather the fact that most artists today aren't musicians and hence NEED to sample because they can't create those sounds. Artists, composers, musicians have ALWAYS been inspired by the past and tried to imitate it, continue doing the same type of music or radically change it. This is not something new in the art of music, in fact in the 30s many "classical" composers created neo-classical works meaning new works of 17th/18th century music, in some regards you could say it's a sampling tradition with old styles of the past. (I write this to give a wider perspective of what music tradition and its form has gone through during the yrs.)

The problem to me is that you have artists such as Miguel sampling an old song by Marvin Gaye and not really creating new music, but rather recycling old music in a new shape and calling it something new and exciting when in fact it's not that revolutionary. I can see it being exciting 20-30 yrs ago, when sampling in mainstream music was something new and cool, but today 30 yrs after the birth of hiphop & sampled music, it doesn't make sense for it to be so hip and revolutionary.

Other "legendary" artists calling it amazing,I believe simply do it for various reasons, perhaps they want to be hip or modern, they might even want to colloborate with a new artist to get some more more fame or to get the new audience to check out their older stuff or just simply because they like it.

@scorp the reason why a person like Barry White was such a talented all around artist I would argue is because he was taught harmony and structure of music since he was a young boy because his mother was a piano player. Many modern artists, don't have this background at all. They don't know how to hamonize, what chords are or how to fully express themselves like older artists who were taught or saw other do it. This is highly political as well, ever since the Reagan adminstration music classes have been diminished in poor areas (espcially for hispanics and black americans) and instruments too expensive to buy for most people in those areas, making it easier and cheaper to just sample an old song.

"His mother gave piano lessons; and she taught White how to harmonize when he was just four. "I stayed glued to the phonograph when Mama played her records--symphonies, sonatas, melodies soaring through me," he told David Ritz for his press materials. He took up piano by age five after hearing his mother play Beethoven's "Moonlight Sonata" on their $50-upright piano. "That blew my mind," he told People's Jeremy Helligar. "I will never forget that day." But he also remembered to Michael A. Gonzales in Vibe, "My mother tried to teach me the scales, but I told her I wanted to learn it my way. One of the greatest gifts she gave me was when she said okay." White never did learn to read or write music, but he did become a multi-instrumentalist who can simultaneously create and arrangne music in his head. "

[Edited 4/11/13 4:31am]

GoldDolphin said:

Sampling old songs, isn't the problem but rather the fact that most artists today aren't musicians and hence NEED to sample because they can't create those sounds. Artists, composers, musicians have ALWAYS been inspired by the past and tried to imitate it, continue doing the same type of music or radically change it. This is not something new in the art of music, in fact in the 30s many "classical" composers created neo-classical works meaning new works of 17th/18th century music, in some regards you could say it's a sampling tradition with old styles of the past. (I write this to give a wider perspective of what music tradition and its form has gone through during the yrs.)

The problem to me is that you have artists such as Miguel sampling an old song by Marvin Gaye and not really creating new music, but rather recycling old music in a new shape and calling it something new and exciting when in fact it's not that revolutionary. I can see it being exciting 20-30 yrs ago, when sampling in mainstream music was something new and cool, but today 30 yrs after the birth of hiphop & sampled music, it doesn't make sense for it to be so hip and revolutionary.

Other "legendary" artists calling it amazing,I believe simply do it for various reasons, perhaps they want to be hip or modern, they might even want to colloborate with a new artist to get some more more fame or to get the new audience to check out their older stuff or just simply because they like it.

@scorp the reason why a person like Barry White was such a talented all around artist I would argue is because he was taught harmony and structure of music since he was a young boy because his mother was a piano player. Many modern artists, don't have this background at all. They don't know how to hamonize, what chords are or how to fully express themselves like older artists who were taught or saw other do it. This is highly political as well, ever since the Reagan adminstration music classes have been diminished in poor areas (espcially for hispanics and black americans) and instruments too expensive to buy for most people in those areas, making it easier and cheaper to just sample an old song.

"His mother gave piano lessons; and she taught White how to harmonize when he was just four. "I stayed glued to the phonograph when Mama played her records--symphonies, sonatas, melodies soaring through me," he told David Ritz for his press materials. He took up piano by age five after hearing his mother play Beethoven's "Moonlight Sonata" on their $50-upright piano. "That blew my mind," he told People's Jeremy Helligar. "I will never forget that day." But he also remembered to Michael A. Gonzales in Vibe, "My mother tried to teach me the scales, but I told her I wanted to learn it my way. One of the greatest gifts she gave me was when she said okay." White never did learn to read or write music, but he did become a multi-instrumentalist who can simultaneously create and arrangne music in his head. "

[Edited 4/11/13 4:31am]

everything you mentioned in the section I highlighted carries great credence and u made awesome points......

yes, Reagan did allot of damage, but ironically the man who's in office now said during his 2008 presidential campaign said that he patterned his political ideology after Reagan and Lincoln, and the entire country overlooked that, but they won't soon when the full measure of his policies kick in by 2014, and by 2016, the country will be singing a different tune, the handwriting is on the wall...

sorry I got off track, but I'm to the point now, I don't trust any politician......

but yes, Reaganomics went full tilt by 1982 where funding for music schools had dissipated, but this is the thing, inner city youth dealt and those growing up in rural america dealt w/the same disparities that confronted the 80s generation during the turn of the 20th century, but because of their ingenuity, because of the strong presence of culture, they were able to bring forth evolving expression each and generation that would follow..Prince is a self taught musician

.the 20s and 30s we saw blues, the 40s brought forth jazz, the 50s brought forth rhythm and blues (the pretext to what history now identifies as rock n roll, the 60s brought forth soul music, and the 70s brought forth even more distinct forms of music including hip-hop, and the 80s stood on the foundation that preceded that decade, making it possible for culture to be embraced on a global scale...reaching the pinnacle before the establishment took over and stole the virtue by staging the pop ascension movement

culture produced those musical notes, it gave life to the music, where the expression became intuitive, that's what made hip-hop so groundbreaking as it was being crafted, they weren't sampling as much as it was creating something out of nothing

and the forefathers of hip-hop warned the people if the music was ever exploited commercially, it would be destroyed, this was declared as early as 1978.....so they saw something that people needed to take heed to....

the establishment could have cultivated the talent...they could have provided the means to learn to how to craft music, I'm sure they carried access to those means but that's not what it wanted, as it sought to take advantage of the excitement, entertainment value and ultimately, the profitably one's talent could bring, talent cultivated by culture, as we entered the age of the music video...it wanted to maximize sales by mass producing records, and to accomplish that goal, it relied on the concept of sampling

culture is the key......

Scorp said:

GoldDolphin said:

Sampling old songs, isn't the problem but rather the fact that most artists today aren't musicians and hence NEED to sample because they can't create those sounds. Artists, composers, musicians have ALWAYS been inspired by the past and tried to imitate it, continue doing the same type of music or radically change it. This is not something new in the art of music, in fact in the 30s many "classical" composers created neo-classical works meaning new works of 17th/18th century music, in some regards you could say it's a sampling tradition with old styles of the past. (I write this to give a wider perspective of what music tradition and its form has gone through during the yrs.)

The problem to me is that you have artists such as Miguel sampling an old song by Marvin Gaye and not really creating new music, but rather recycling old music in a new shape and calling it something new and exciting when in fact it's not that revolutionary. I can see it being exciting 20-30 yrs ago, when sampling in mainstream music was something new and cool, but today 30 yrs after the birth of hiphop & sampled music, it doesn't make sense for it to be so hip and revolutionary.

Other "legendary" artists calling it amazing,I believe simply do it for various reasons, perhaps they want to be hip or modern, they might even want to colloborate with a new artist to get some more more fame or to get the new audience to check out their older stuff or just simply because they like it.

@scorp the reason why a person like Barry White was such a talented all around artist I would argue is because he was taught harmony and structure of music since he was a young boy because his mother was a piano player. Many modern artists, don't have this background at all. They don't know how to hamonize, what chords are or how to fully express themselves like older artists who were taught or saw other do it. This is highly political as well, ever since the Reagan adminstration music classes have been diminished in poor areas (espcially for hispanics and black americans) and instruments too expensive to buy for most people in those areas, making it easier and cheaper to just sample an old song.

"His mother gave piano lessons; and she taught White how to harmonize when he was just four. "I stayed glued to the phonograph when Mama played her records--symphonies, sonatas, melodies soaring through me," he told David Ritz for his press materials. He took up piano by age five after hearing his mother play Beethoven's "Moonlight Sonata" on their $50-upright piano. "That blew my mind," he told People's Jeremy Helligar. "I will never forget that day." But he also remembered to Michael A. Gonzales in Vibe, "My mother tried to teach me the scales, but I told her I wanted to learn it my way. One of the greatest gifts she gave me was when she said okay." White never did learn to read or write music, but he did become a multi-instrumentalist who can simultaneously create and arrangne music in his head. "

[Edited 4/11/13 4:31am]

everything you mentioned in the section I highlighted carries great credence and u made awesome points......

yes, Reagan did allot of damage, but ironically the man who's in office now said during his 2008 presidential campaign said that he patterned his political ideology after Reagan and Lincoln, and the entire country overlooked that, but they won't soon when the full measure of his policies kick in by 2014, and by 2016, the country will be singing a different tune, the handwriting is on the wall...

sorry I got off track, but I'm to the point now, I don't trust any politician......

but yes, Reaganomics went full tilt by 1982 where funding for music schools had dissipated, but this is the thing, inner city youth dealt and those growing up in rural america dealt w/the same disparities that confronted the 80s generation during the turn of the 20th century, but because of their ingenuity, because of the strong presence of culture, they were able to bring forth evolving expression each and generation that would follow..Prince is a self taught musician

.the 20s and 30s we saw blues, the 40s brought forth jazz, the 50s brought forth rhythm and blues (the pretext to what history now identifies as rock n roll, the 60s brought forth soul music, and the 70s brought forth even more distinct forms of music including hip-hop, and the 80s stood on the foundation that preceded that decade, making it possible for culture to be embraced on a global scale...reaching the pinnacle before the establishment took over and stole the virtue by staging the pop ascension movement

culture produced those musical notes, it gave life to the music, where the expression became intuitive, that's what made hip-hop so groundbreaking as it was being crafted, they weren't sampling as much as it was creating something out of nothing

and the forefathers of hip-hop warned the people if the music was ever exploited commercially, it would be destroyed, this was declared as early as 1978.....so they saw something that people needed to take heed to....

the establishment could have cultivated the talent...they could have provided the means to learn to how to craft music, I'm sure they carried access to those means but that's not what it wanted, as it sought to take advantage of the excitement, entertainment value and ultimately, the profitably one's talent could bring, talent cultivated by culture, as we entered the age of the music video...it wanted to maximize sales by mass producing records, and to accomplish that goal, it relied on the concept of sampling

culture is the key......

Yes I know and why should anyone be surprised, when the president lived in a sheltered world from a young age untill he went to NYC and Chicago as an adult, those ideals and figures came from his home but yeah... He changed drastically tho, I remember seeing him talk back in 06 and he was very inspiring but I dont know what happened to him after he became president Obama.

I agree to a certain extent, but not all the way because comparing the early generations before 1965 is quite unfair with the generations that came after, because african-american culture was able to create a unique sound because of the struggles of not having freedom and had to create something new that reflected the problems and their own society. American music has always been biracial since the early 18th century and the first music in the states started to be created, but in the beginning of the 20th century, a more personal sound that had its roots in african-american culture started to develop because there was a sense of pride and revolt against old ideals. Generations post 1965, have another world view and there's optimism that opens new doors and there's a cultural shift for african-americans. The changes and the ideas of africanism and pride are reclaimed in the 60s and 70s, it's a politcal period (as seen not only in black culture but everywhere around the world) and in the 80s that changes, because the door had been opened and african-american music was now part of american culture and not longer only a sub-culture.

Prince interest in music comes from his parents that are jazz musicians and if I'm not mistaken I believe he knows how to read sheet music as well (not to the standard of his father perhaps, but he knows the baisc of it) he also took saxophone lessons in high school for a short period and I think he also learned music theory from his teachers. He also knows the function of different keys and this develops an understanding of melody and harmony. Again, you notice how even Prince was involved with music from a very young age (and was exposed to his parents musicianship) and this developes the ear and him learning to play an instrument in school, proves again my point that taking away music classes and making instruments too expensive has diminished the interest in instruments in african-american culture, music isn't dead at all but it has changed because of various reasons. Many kids want to be rappers because that's something they see other black artists doing. This can be said in latin american culture as well, where there has always been a strong musical culture but in recent yrs has diminished because instruments are too expensive which has meant that music has shifted into more sampled and computer made music. Blame society for taking away the things that a culture needs to cultivate itself, not the culture itself. It's interesting that prior to the 60s many singers in black culture didn't come from the church and after the 80s almost every singer comes from the church and they have a very generic sound (I hope nobody gets offended just my opinion). I much prefer jazz singers to gospel singers anyday though.

mjscarousal said:

when they know its crap?

This is not another complaint thread but a serious question because I just dont understand how artists who play instruments, write their own music and put time into their music can compliment media stars and puppets.

Are they just punkasses (afraid of backlash) or do you think they sincerely enjoy bad music?

I do not know how many times I have heard iconic rappers compliment Drake, Lil Wayne, Nikki music etc likewise with the singers.

I just dont understand it

Are they doing it so they can be "hip"

What are they smoking?

Nobody out now is making any thing iconic or half way descent on the radio. The radio has been shit for over a decade now and these legendary singers glorifying these wack ass acts.

A simple answer here: perhaps they actually have different tastes than you expect them to have, and they actually do, in fact, enjoy mainstream music today.

[Edited 4/12/13 6:21am]

Unlikely.