lyrics i can identify with..

Strive said:

KoolEaze said:

Back in the days HipHop artists would either blatantly steal whole melodies or the full instrumental version of a hit song and just rap over it (and I was too young to know better), or they would have their own music, their own beats and melodies, which I liked a lot. Groups such as Whodini had big hits, and they used their own music (Friends, One Love, Escape, Growing Up, Life is Like a Dance).

-

What I like about good rappers is :

- good lyrics

- good puns, punchlines and wordplay

-humor (Snoop Dogg is hilarious, and so was Biggie )

- deep lyrics (Nas, some old school Ice-T songs such as Squeeze the Trigger and 6NthaMornin´, Pain, and most of the fun stuff he did with the Zulu Kings).

- creative , over the top rhymes (like some very oldschool Melle Mel).

- a unique flow (Rakim, Biggie)

- great beats (J Dilla, DJ Premier)

- great storytelling (Ice-T, Ice Cube, Nas)

- conscious lyrics, smart lyrics, lyrics to make you think twice (KRS One, Mos Def AKA Yassin Bey)

- all of the above and being charismatic (Masta Ace...what a great live MC...a true MC..true rapper...)

-

Whodini's production was top notch at its time. "Five Minutes of Funk" still moves me to this day. They were not sample heavy as you mentioned.

-

Aside from the banal beats these days, I'm also not the least bit inspired by how little distinction there is between most rappers today. The labels have them all pressured to sound like the last big hit that broke big on commercial radio. There's no accountibility in Hip Hop anymore. I think that went out the window once acts started selling multi-platinum records Before, the (hip hop) culture itself demanded and expected you to "come correct" or "show & prove" with your own style. You would have been laughed off a stage or quickly turned off the radio if you obviously sounded like someone else. For instance, Dana Dane would/will never be as big or respected as Rick The Ruler. Everyone knew he was "bitin" his style. Now, corporate/labels pressure these young acts to chase hits like....fill in the blank______________.

AndrePatrone said:

lyrics i can identify with..

That´s SirPsycho a.k.a Sahril. Very talented dude who used to post here on the org and on Facebook but for some reason he kind of fell under the radar and disappeared a while ago.

Any idea what he´s up to these days? Do you know him?

Or are you Sahril with a new screenname?

He was involved in some film projects, too.

Musicslave said:

KoolEaze said:

Back in the days HipHop artists would either blatantly steal whole melodies or the full instrumental version of a hit song and just rap over it (and I was too young to know better), or they would have their own music, their own beats and melodies, which I liked a lot. Groups such as Whodini had big hits, and they used their own music (Friends, One Love, Escape, Growing Up, Life is Like a Dance).

-

What I like about good rappers is :

- good lyrics

- good puns, punchlines and wordplay

-humor (Snoop Dogg is hilarious, and so was Biggie )

- deep lyrics (Nas, some old school Ice-T songs such as Squeeze the Trigger and 6NthaMornin´, Pain, and most of the fun stuff he did with the Zulu Kings).

- creative , over the top rhymes (like some very oldschool Melle Mel).

- a unique flow (Rakim, Biggie)

- great beats (J Dilla, DJ Premier)

- great storytelling (Ice-T, Ice Cube, Nas)

- conscious lyrics, smart lyrics, lyrics to make you think twice (KRS One, Mos Def AKA Yassin Bey)

- all of the above and being charismatic (Masta Ace...what a great live MC...a true MC..true rapper...)

-

Whodini's production was top notch at its time. "Five Minutes of Funk" still moves me to this day. They were not sample heavy as you mentioned.

-

Aside from the banal beats these days, I'm also not the least bit inspired by how little distinction there is between most rappers today. The labels have them all pressured to sound like the last big hit that broke big on commercial radio. There's no accountibility in Hip Hop anymore. I think that went out the window once acts started selling multi-platinum records Before, the (hip hop) culture itself demanded and expected you to "come correct" or "show & prove" with your own style. You would have been laughed off a stage or quickly turned off the radio if you obviously sounded like someone else. For instance, Dana Dane would/will never be as big or respected as Rick The Ruler. Everyone knew he was "bitin" his style. Now, corporate/labels pressure these young acts to chase hits like....fill in the blank______________.

I forgot to mention Five Minutes of Funk. That´s still my jam to this day and I play it quite often.

It´s sad to see how such squeaky clean artists went downhill because of drugs. As a kid their lyrics and positive attitude had a profound impact on me and they were a very positive influence.

Good point about Dana Dane....

And isn´t it strange that these days, there´s not even a clear distinction soundwise when it comes to regions? I mean, back then you could tell within seconds that someone was from the westcoast, the south or the east, or Miami...but these days there no longer is a distinct sound because producers work with so many people regardless of area or affiliation.

That´s a curse and a blessing at the same time.

Not that certain sounds have to be restricted to a certain region...I appreciate diversity..but still....there is no longer a unique sound that is typical for a region.

Unless it sounds really bad, like some trap artists or really simple bassheavy stuff, or simple shit like Chief Keef.

Other than that, the regions no longer have a particular sound.

KoolEaze said:

Musicslave said:

-

Whodini's production was top notch at its time. "Five Minutes of Funk" still moves me to this day. They were not sample heavy as you mentioned.

-

Aside from the banal beats these days, I'm also not the least bit inspired by how little distinction there is between most rappers today. The labels have them all pressured to sound like the last big hit that broke big on commercial radio. There's no accountibility in Hip Hop anymore. I think that went out the window once acts started selling multi-platinum records Before, the (hip hop) culture itself demanded and expected you to "come correct" or "show & prove" with your own style. You would have been laughed off a stage or quickly turned off the radio if you obviously sounded like someone else. For instance, Dana Dane would/will never be as big or respected as Rick The Ruler. Everyone knew he was "bitin" his style. Now, corporate/labels pressure these young acts to chase hits like....fill in the blank______________.

I forgot to mention Five Minutes of Funk. That´s still my jam to this day and I play it quite often.

It´s sad to see how such squeaky clean artists went downhill because of drugs. As a kid their lyrics and positive attitude had a profound impact on me and they were a very positive influence.

Good point about Dana Dane....

And isn´t it strange that these days, there´s not even a clear distinction soundwise when it comes to regions? I mean, back then you could tell within seconds that someone was from the westcoast, the south or the east, or Miami...but these days there no longer is a distinct sound because producers work with so many people regardless of area or affiliation.

That´s a curse and a blessing at the same time.

Not that certain sounds have to be restricted to a certain region...I appreciate diversity..but still....there is no longer a unique sound that is typical for a region.

Unless it sounds really bad, like some trap artists or really simple bassheavy stuff, or simple shit like Chief Keef.

Other than that, the regions no longer have a particular sound.

-

Unless your name is Kendrick Duckworth or Jermaine Cole you have been regulated to that Trap sound. Regardless of where you're from or influenced, everyone is rapping on Trap beats now. Part of the problem there's only a handful of producers that are making these beats. Everyone is going to the same pot to get their meals so they can eat, if you will

My experience is that truly original artists has a tendency to care about the lyrical content also, if their beats and flows are on some avant garde stuff. Either they've got something to say, or atleast they've got a different approach etc. To me, it's good if it's interresting. It doesn't have to be on some albert einstein reinventing the world type of shit.

KoolEaze said:

AndrePatrone said:

lyrics i can identify with..

That´s SirPsycho a.k.a Sahril. Very talented dude who used to post here on the org and on Facebook but for some reason he kind of fell under the radar and disappeared a while ago.

Any idea what he´s up to these days? Do you know him?

Or are you Sahril with a new screenname?

He was involved in some film projects, too.

These days he's teaching in harlem and freelancing to make ends meet. He's also me. Thanks for the compliments

I'm a rock guy so I do like well-produced backing tracks that are funky & unpredictable, samples that are creative & interesting, like Public Enemy sound collages where there's so many things slapped together, none of them stick out. I like a little snatch of something familiar once in a while but not a straight up lift like U Can't Touch This.

As for the rappers, I want urgency, humor, complex rhythms. When the track is a loop, the vocal should be unpredictable.

Lately I've been listening to a lot of Kool Keith, his flow is like free jazz, barely related to the backing track but fits right in there. His tracks are pretty sparse, drum machine and a keyboard, nothing sounds really "produced".

bobzilla77 said:

I'm a rock guy so I do like well-produced backing tracks that are funky & unpredictable, samples that are creative & interesting, like Public Enemy sound collages where there's so many things slapped together, none of them stick out. I like a little snatch of something familiar once in a while but not a straight up lift like U Can't Touch This.

As for the rappers, I want urgency, humor, complex rhythms. When the track is a loop, the vocal should be unpredictable.

Lately I've been listening to a lot of Kool Keith, his flow is like free jazz, barely related to the backing track but fits right in there. His tracks are pretty sparse, drum machine and a keyboard, nothing sounds really "produced".

Kool Keith ! He´s such a unique MC.One of my all time favorite MCs who has been rapping for three decades. He´s got the weirdest lyrics and there´s probably no artist on this planet who has used more pseudonyms than Kool Keith. He´s insanely prolific and always sounds fresh.

-

And he´s got a strange sense of humor .

I also like how he tells stories and anecdotes, for instance in that video where he talks about a refrigerator and uses crazy metaphors.

This is some deep, profound wisdom :

-

Some of his aliases: (from : http://www.koolkeith.co.u...iases.html

KEITH THORNTON – His real name.
KOOL KEITH – His rapper name.
KEITH TURBO – He used this alias for the Keith Turbo track from the Black Elvis/Lost In Space LP.
KEITH TELEVASQUEZ – He used this alias on Clifton with Motion Man on the Black Elvis/Lost In Space LP.
KEITH KORG – His Analog Brothers alias.
MATTHEW – Keith’s middle name and alias for a full LP.
DR. SPERM – Known to be his first alias as a rapper.
DR. OCTAGON – C’mon, you know this one.
DR. ULTRA – He was Dr. Ultra in the “Five Deadly Venoms” Sprite commercials.
DR. DOOOM – He created this character with sick rhymes and a goal of killing Dr. Octagon.
BLACK ELVIS – Dr. Dooom’s twin. Created for the Columbia Records album.
POPPA LARGE – He’s Poppa Large, big shot on the East Coast.
MR. GREEN – He used this alias on the back cover of Ultra’s Big Time LP.
MR. GERBIK – The dangerous 208 year old uncle of Dr. Octagon. Half Shark Alligator Half Man.
MR. ORANGE – This was one of his characters in the Livin’ Astro video.
MC BALDYLOCKS – Unknown right now.
THE FOURTH HORSEMAN – He considered himself The Fourth Horseman on the Ultramagnetic MC’s Four Horsemen LP.
BLONDE MAN – He referred to himself as Blonde Man in the liner notes of the Black Elvis/Lost In Space LP.
CLEAN MAN – This was an alias he used back when HipHopSite.com ran KoolKeith.com.
SHARK MAN – Another name for Mr. Gerbik.
ELEPHANT MAN – From 1996 to 1998 he always said he planned on releasing an album under the alias Elephant Man.
ALIEN MAN – This was an alias he used back when HipHopSite.com ran KoolKeith.com.
JIMMY STEELE – He referred to himself as Jimmy Steele in the liner notes of the Black Elvis/Lost In Space LP.
WILLIE BIGGS – He used this alias in the track Still The Best from the Sex Style LP. He also used it on the back cover of Ultra’s Big Time LP.
BIG WILLIE SMITH – He released a limited EP with the Beat Terrorists under this alias.
WILLIE NATURAL – This was an alias he used back when HipHopSite.com ran KoolKeith.com.
REVEREND TOM – He first used this alias on the track Fat Lady from Ultra’s Big Time LP and later used it on Thee Undatakerz LP.
MIKE STANLEY – He uses this alias in DJ Sooky's Riddim Warfare LP.
LARRY LOPEZ – He used this name with Heather Hunter for “Toot Toot Hey Beep Beep”.
THE X – He used this name on the inside cover of the Ultramagnetic MC’s Four Horsemen LP.
RHYTHM X – He first used this alias in the track Funk Radio from Ultramagnetic MC’s Funk Your Head Up LP.
X-CALIBER – He first used this alias in the track Funk Radio from Ultramagnetic MC’s Funk Your Head Up LP.
X-74 – He used this alias in the song Kick a Dope Verse by the Cenobites
FLY RICKY THE WINE TASTER – This was an alias he used back when HipHopSite.com ran KoolKeith.com.
RICO FROM PUERTO RICO – This was an alias he used back when HipHopSite.com ran KoolKeith.com.
FUNK IGNITER PLUS – He first used this alias in the track Funk Radio from Ultramagnetic MC’s Funk Your Head Up LP, and he still uses this alias.
ROBBIE ANALOG – He used this alias to make fun of the RZA on the inside cover of Dr. Dooom’s LP.
SINISTER 6000 – He used this alias on Automator’s A Better Tomorrow.
CRAZY LOU – He Used this name as the guns and ammo salesman in Weapon World from Prince Paul’s A Prince Among Thieves.
LONNIE HENDREX – This was one of his characters in the Livin’ Astro video.
LIGHT BLUE COP – This was one of his characters in the Livin’ Astro video.
THE KID IN THE COMMERCIAL – This was one of his characters in the Livin’ Astro video.
JOE KINGPIN – He used this alias in the track Still The Best from the Sex Style LP.
BLACK LINEN – He used this alias in the track Silk Suit, Black Linen from the Masters of Illusion LP. Motion Man was Silk Suit.
ELVIN PRESLEY – He gave away cards at concerts. The cards had a picture of him with the name Elvin Presley.
DELI BOY – He was called Deli Boy in the comedy/porn “Sex For Life Too”.
SK8 JOHNSON – He used this alias in the Bootleg Skater videos.
PLATNINUM RICH – One the Diesel Truckers, along with The Funky Redneck.
EXOTRON GEIGER COUNTER ONE PLUS MEGOTRON – He used this alias on Marley Marl In Control in 1989. He also used a longer version. He also used this alias in Ultramagnetic MC’s track Traveling At The Speed Of Thought.
ACTIVITY – This was his name when he was with the NYC Breakers
EXXON – He gave away cards at concerts. The cards had a picture of him with the name Exxon.
CAPTAIN KOOL – This was an alias he was supposed to use according to Liveonerecords.com.
CAPTAIN BLACK – This was an alias he was supposed to use according to Liveonerecords.com.
EXOTRON GEIGER COUNTER ONE GAMA PLUS SEQUENCER – He used this alias on Marley Marl In Control in 1989. He also used a shorter version.
ROBERT PERRY – He used this alias for the track Robert Perry from his Lost Masters LP.
JOHN CLAYBORNE COUSIN OF JIMMY HICKS – He used this alias on the Clayborne Family LP with Marc Live and Jacky Jasper.
MR. NOGATCO – Released an album under this name with Izreal.
TASHAN DORRSETT – Supposed to release an album under this name with DJ Junkaz Lou.
NAQUAN aka UNDERWEAR PISSY - Alias on the NEW Ultramagnetic MC's album, "The Best Kept Secret".
THE BEST MC IN THE WORLD – That’s just what he is.

http://www.koolkeith.co.u...sonas.html

KoolEaze said:

Musicslave said:

-

Whodini's production was top notch at its time. "Five Minutes of Funk" still moves me to this day. They were not sample heavy as you mentioned.

-

Aside from the banal beats these days, I'm also not the least bit inspired by how little distinction there is between most rappers today. The labels have them all pressured to sound like the last big hit that broke big on commercial radio. There's no accountibility in Hip Hop anymore. I think that went out the window once acts started selling multi-platinum records Before, the (hip hop) culture itself demanded and expected you to "come correct" or "show & prove" with your own style. You would have been laughed off a stage or quickly turned off the radio if you obviously sounded like someone else. For instance, Dana Dane would/will never be as big or respected as Rick The Ruler. Everyone knew he was "bitin" his style. Now, corporate/labels pressure these young acts to chase hits like....fill in the blank______________.

I forgot to mention Five Minutes of Funk. That´s still my jam to this day and I play it quite often.

It´s sad to see how such squeaky clean artists went downhill because of drugs. As a kid their lyrics and positive attitude had a profound impact on me and they were a very positive influence.

Good point about Dana Dane....

And isn´t it strange that these days, there´s not even a clear distinction soundwise when it comes to regions? I mean, back then you could tell within seconds that someone was from the westcoast, the south or the east, or Miami...but these days there no longer is a distinct sound because producers work with so many people regardless of area or affiliation.

That´s a curse and a blessing at the same time.

Not that certain sounds have to be restricted to a certain region...I appreciate diversity..but still....there is no longer a unique sound that is typical for a region.

Unless it sounds really bad, like some trap artists or really simple bassheavy stuff, or simple shit like Chief Keef.

Other than that, the regions no longer have a particular sound.

Yeah that point you made about there being no regional differences any more is SO true. That's why everything sounds a like now. You got dudes in NYC trying to be "trap" artists LOL

Kendrick is from the West Coast but this song doesn't have a West Coast sound like the way that Pac or Dre have. But, it's a cool song nevertheless. I think it's a good example of what good hip hop in the 2010s sounds like.