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Printablebabynoz said: Now how's about hookin' a sista up wit some of yo music??? I'm working on a lil # called "The Org", it will be finished as soon as I can get back in the studio. Probably next week. | |
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Graycap23 said: babynoz said: Now how's about hookin' a sista up wit some of yo music??? I'm working on a lil # called "The Org", it will be finished as soon as I can get back in the studio. Probably next week. Oh lawd!  nWo: bboy87 - Timmy84 - LittleBlueCorvette - MuthaFunka - phunkdaddy - Christopher
MuthaFunka - Black...by popular demand | |
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L4OATheOriginal said: 2freaky4church1 said: Rolling Stone has an article where they say the problem today is that most albums are too loud, that there are no subtleties as was seen with analogue recording. Everything in the mix is turned up to keep the interest of the young listener, but the loudness ends up boring listeners, where they cannot stand repeated listens.
what bores me as a listener of today's music is not the mixing, it's the content and how everything sounds the same. there r no bass lines just drum beats and a keyboard mortif that a 5th grader can come up with. no one looks distinguish enough 2 seperate them as well. how stupid songs like umbrella becomes hits astonishes me.  when the articles in rolling stone tell of the tale of how cd sales r down and the excutivies they interview try 2 blame it on digital sales, i always laugh cause that's not the problem at all. it's the artist they sign and the lack of a & r departments grooming artists. where r the bass lines in r & b music anymore? where r the drummers getting a groove in the pocket? where r the bridges that take the song in2 another atmosphere then drops u back 2 where u began? chord structers? none of that is prevelant in todays music unless u go in2 rock categories.
Another old fogey not listening properly. You diss "Umbrella" and then lament the absense of the very things "Umbrella" has. "Drummer getting a groove in the pocket"? Check. "A bridge that takes the song in2 another atmosphere then drops u back 2 where u began?" Uhhh, check. "Chord structure?". Uhhh, check! Plus something you forgot to mention. A MELODY! “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
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MuthaFunka said: Graycap23 said: I'm working on a lil # called "The Org", it will be finished as soon as I can get back in the studio. Probably next week. Oh lawd! Yeasssss..... | |
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Graycap23 said: babynoz said: Now how's about hookin' a sista up wit some of yo music??? I'm working on a lil # called "The Org", it will be finished as soon as I can get back in the studio. Probably next week. Oh Lord! Don't forget to name orgers in the lyrics. You need to get a record deal and some airplay so you can mention my name as the inventor of the term "shit hop" so I can go down in the history books. Also, the word could piss off the actual shit hoppers making shit hop. That would be an added little evil bonus. Andy is a four letter word. | |
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midnightmover said: L4OATheOriginal said: what bores me as a listener of today's music is not the mixing, it's the content and how everything sounds the same. there r no bass lines just drum beats and a keyboard mortif that a 5th grader can come up with. no one looks distinguish enough 2 seperate them as well. how stupid songs like umbrella becomes hits astonishes me. when the articles in rolling stone tell of the tale of how cd sales r down and the excutivies they interview try 2 blame it on digital sales, i always laugh cause that's not the problem at all. it's the artist they sign and the lack of a & r departments grooming artists. where r the bass lines in r & b music anymore? where r the drummers getting a groove in the pocket? where r the bridges that take the song in2 another atmosphere then drops u back 2 where u began? chord structers? none of that is prevelant in todays music unless u go in2 rock categories.
Another old fogey not listening properly. You diss "Umbrella" and then lament the absense of the very things "Umbrella" has. "Drummer getting a groove in the pocket"? Check. "A bridge that takes the song in2 another atmosphere then drops u back 2 where u began?" Uhhh, check. "Chord structure?". Uhhh, check! Plus something you forgot to mention. A MELODY! old fogey huh? well this old fogey can tell the difference between a shit ass song and a song that u will remember in 20 years and umbrella or anything that has been out won't b remembered in 3 months. and that's not a drummer on umbrella, it's called a drum machine!!! check..chord structure ..ahh no ..go back 2 guitar 101 and then listen 2 james brown 4 the 2nd hour ..u will learn the difference 4 sho! man, he has such an amazing body of music that it's sad to see him constrict it down to the basics. he's too talented for the lineup he's doing. estelle 81 | |
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midnightmover said: L4OATheOriginal said: what bores me as a listener of today's music is not the mixing, it's the content and how everything sounds the same. there r no bass lines just drum beats and a keyboard mortif that a 5th grader can come up with. no one looks distinguish enough 2 seperate them as well. how stupid songs like umbrella becomes hits astonishes me. when the articles in rolling stone tell of the tale of how cd sales r down and the excutivies they interview try 2 blame it on digital sales, i always laugh cause that's not the problem at all. it's the artist they sign and the lack of a & r departments grooming artists. where r the bass lines in r & b music anymore? where r the drummers getting a groove in the pocket? where r the bridges that take the song in2 another atmosphere then drops u back 2 where u began? chord structers? none of that is prevelant in todays music unless u go in2 rock categories.
Another old fogey not listening properly. You diss "Umbrella" and then lament the absense of the very things "Umbrella" has. "Drummer getting a groove in the pocket"? Check. "A bridge that takes the song in2 another atmosphere then drops u back 2 where u began?" Uhhh, check. "Chord structure?". Uhhh, check! Plus something you forgot to mention. A MELODY! I've never heard "Umbrella". The things that I highlighted in your post, are those lyrics in the song? If so, lyrics don't mean it's true. Hell, I've heard shit hoppers being interviewed that have songs as slow as Judy Garland and yet they have the nerve to describe their music as funky. They don't know what the hell funky is. Andy is a four letter word. | |
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vainandy said: I've never heard "Umbrella". The things that I highlighted in your post, are those lyrics in the song? If so, lyrics don't mean it's true. Hell, I've heard shit hoppers being interviewed that have songs as slow as Judy Garland and yet they have the nerve to describe their music as funky. They don't know what the hell funky is. Uhhh, no, those aren't lyrics, they're points made by the guy I was responding to. “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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vainandy said: Oh Lord! Don't forget to name orgers in the lyrics. You need to get a record deal and some airplay so you can mention my name as the inventor of the term "shit hop" so I can go down in the history books. Also, the word could piss off the actual shit hoppers making shit hop. That would be an added little evil bonus. Lol.....shit hop. That is about right. | |
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L4OATheOriginal said: midnightmover said: Another old fogey not listening properly. You diss "Umbrella" and then lament the absense of the very things "Umbrella" has. "Drummer getting a groove in the pocket"? Check. "A bridge that takes the song in2 another atmosphere then drops u back 2 where u began?" Uhhh, check. "Chord structure?". Uhhh, check! Plus something you forgot to mention. A MELODY! old fogey huh? well this old fogey can tell the difference between a shit ass song and a song that u will remember in 20 years and umbrella or anything that has been out won't b remembered in 3 months. and that's not a drummer on umbrella, it's called a drum machine!!! check..chord structure ..ahh no ..go back 2 guitar 101 and then listen 2 james brown 4 the 2nd hour ..u will learn the difference 4 sho! Well, we'll see about that. When you consider that the song has aready been covered by the likes of Indie Arie (who is hardly known for supporting modern R&B) and has reached audiences way beyond just the pop/r&b crowd, you have to consider that maybe the song has something your ears are deaf too. I think it's called a melody.  “The man who never looks into a newspaper is better informed than he who reads them, inasmuch as he who knows nothing is nearer to truth than he whose mind is filled with falsehoods and errors.”
- Thomas Jefferson | |
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midnightmover said: L4OATheOriginal said: old fogey huh? well this old fogey can tell the difference between a shit ass song and a song that u will remember in 20 years and umbrella or anything that has been out won't b remembered in 3 months. and that's not a drummer on umbrella, it's called a drum machine!!! check..chord structure ..ahh no ..go back 2 guitar 101 and then listen 2 james brown 4 the 2nd hour ..u will learn the difference 4 sho! Well, we'll see about that. When you consider that the song has aready been covered by the likes of Indie Arie (who is hardly known for supporting modern R&B) and has reached audiences way beyond just the pop/r&b crowd, you have to consider that maybe the song has something your ears are deaf too. I think it's called a melody. sometimes a artist will do a song 2 song contemporary just 2 b hip..hell y do u think prince did that sample thang during the musicology tour. cause it wasn't about saying hey beyonce is hip and i know what time it is..NO ..it was schooling the youngsters that real musicians played on that track previously and she just SAMPLED it.. time will tell rihanna and other shit hoppers and singers r just a fad and true music stands the test of time man, he has such an amazing body of music that it's sad to see him constrict it down to the basics. he's too talented for the lineup he's doing. estelle 81 | |
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Graycap23 said: babynoz said: Now how's about hookin' a sista up wit some of yo music??? I'm working on a lil # called "The Org", it will be finished as soon as I can get back in the studio. Probably next week. Say what? 
I gotta be first in line to hear that one!  Prince, in you I found a kindred spirit...Rest In Paradise. | |
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babynoz said: Graycap23 said: I'm working on a lil # called "The Org", it will be finished as soon as I can get back in the studio. Probably next week. Say what?
I gotta be first in line to hear that one! Gotcha..... | |
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American music comes DIRECTLY from the slave experience in America, PARTICULARLY the slave experience in New Orleans which was the only place slaves were allowed to publicly gather in very large groups (in the hundreds, once a week, on Sunday) and sing, shout, clap their hands, holler, speak in their native African dialects, praise their native gods, and most importantly PLAY THE DRUMS & DANCE. Kindly read the last part of the sentence again!  The French and Spanish slaveowners - who it goes without saying were animals - allowed their slaves certain spiritual and cultural liberties that the Anglo-American slaveowners never did. The slaves in New Orleans playing those DRUMS once a week over hundreds of years created - or lent if you like - the very IDEA OF RHYTHM, of what rhythm should could and ought to and would be in American music. That New Orleans rhythm took many forms over the period of the late 1940s to the mid-1990s, but it was there in EVERYTHING from Italian Disco to the Rolling Stones to Digital Underground to George Benson. The next time you hear an extended version, understand THAT came from New Orleans, from Sunday in Congo Square. The slave musicians and drummers played their shit ALL DAY LONG. They hoped somehow the magic in the drumming and the playing would KEEP MONDAY FROM EVER SHOWING UP. Because you know what happened on Monday if you were a slave. Monday was unspeakable. THAT is the power of American music, right there, that idea that it can HOLD BACK MONDAY, stop it from coming THAT is what its about, in its essence. American music is FILLED with allusions to going "all night long" and they are only PARTLY sexual. That New Orleans rhythm - forged by profound pain and hope of deliverance from profound pain - is in ALL American music from around the globe from this unbelievably fertile cultural period of the late 40s to the mid-90s. Sadly, it is NOT there now. Culture has somehow become DETACHED from the American slave experience, DE-LINKED. It has made some sort of spiritual break with New Orleans. For me, born during the glorious year of 1972, this is disturbing. My entire concept of what America IS is wrapped up in the past goings-on in the Congo Square. Congo Square and the Mississippi Delta - and what flowed into the future from those two places - is really all I KNOW or ever CARE TO KNOW about what is truly, truly GOOD IN LIFE. And it's gone. | |
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freshyface said: American music comes DIRECTLY from the slave experience in America, PARTICULARLY the slave experience in New Orleans which was the only place slaves were allowed to publicly gather in very large groups (in the hundreds, once a week, on Sunday) and sing, shout, clap their hands, holler, speak in their native African dialects, praise their native gods, and most importantly PLAY THE DRUMS & DANCE. Kindly read the last part of the sentence again!
The French and Spanish slaveowners - who it goes without saying were animals - allowed their slaves certain spiritual and cultural liberties that the Anglo-American slaveowners never did. The slaves in New Orleans playing those DRUMS once a week over hundreds of years created - or lent if you like - the very IDEA OF RHYTHM, of what rhythm should could and ought to and would be in American music. That New Orleans rhythm took many forms over the period of the late 1940s to the mid-1990s, but it was there in EVERYTHING from Italian Disco to the Rolling Stones to Digital Underground to George Benson. The next time you hear an extended version, understand THAT came from New Orleans, from Sunday in Congo Square. The slave musicians and drummers played their shit ALL DAY LONG. They hoped somehow the magic in the drumming and the playing would KEEP MONDAY FROM EVER SHOWING UP. Because you know what happened on Monday if you were a slave. Monday was unspeakable. THAT is the power of American music, right there, that idea that it can HOLD BACK MONDAY, stop it from coming THAT is what its about, in its essence. American music is FILLED with allusions to going "all night long" and they are only PARTLY sexual. That New Orleans rhythm - forged by profound pain and hope of deliverance from profound pain - is in ALL American music from around the globe from this unbelievably fertile cultural period of the late 40s to the mid-90s. Sadly, it is NOT there now. Culture has somehow become DETACHED from the American slave experience, DE-LINKED. It has made some sort of spiritual break with New Orleans. For me, born during the glorious year of 1972, this is disturbing. My entire concept of what America IS is wrapped up in the past goings-on in the Congo Square. Congo Square and the Mississippi Delta - and what flowed into the future from those two places - is really all I KNOW or ever CARE TO KNOW about what is truly, truly GOOD IN LIFE. And it's gone.Thanks for sharing your perspective...it reads like something you were holding inside for a long time. Prince, in you I found a kindred spirit...Rest In Paradise. | |
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Graycap23 said: babynoz said: Say what?
I gotta be first in line to hear that one! Gotcha..... SECOND IN LINE | |
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freshyface said: American music comes DIRECTLY from the slave experience in America, PARTICULARLY the slave experience in New Orleans which was the only place slaves were allowed to publicly gather in very large groups (in the hundreds, once a week, on Sunday) and sing, shout, clap their hands, holler, speak in their native African dialects, praise their native gods, and most importantly PLAY THE DRUMS & DANCE. Kindly read the last part of the sentence again!
The French and Spanish slaveowners - who it goes without saying were animals - allowed their slaves certain spiritual and cultural liberties that the Anglo-American slaveowners never did. The slaves in New Orleans playing those DRUMS once a week over hundreds of years created - or lent if you like - the very IDEA OF RHYTHM, of what rhythm should could and ought to and would be in American music. That New Orleans rhythm took many forms over the period of the late 1940s to the mid-1990s, but it was there in EVERYTHING from Italian Disco to the Rolling Stones to Digital Underground to George Benson. The next time you hear an extended version, understand THAT came from New Orleans, from Sunday in Congo Square. The slave musicians and drummers played their shit ALL DAY LONG. They hoped somehow the magic in the drumming and the playing would KEEP MONDAY FROM EVER SHOWING UP. Because you know what happened on Monday if you were a slave. Monday was unspeakable. THAT is the power of American music, right there, that idea that it can HOLD BACK MONDAY, stop it from coming THAT is what its about, in its essence. American music is FILLED with allusions to going "all night long" and they are only PARTLY sexual. That New Orleans rhythm - forged by profound pain and hope of deliverance from profound pain - is in ALL American music from around the globe from this unbelievably fertile cultural period of the late 40s to the mid-90s. Sadly, it is NOT there now. Culture has somehow become DETACHED from the American slave experience, DE-LINKED. It has made some sort of spiritual break with New Orleans. For me, born during the glorious year of 1972, this is disturbing. My entire concept of what America IS is wrapped up in the past goings-on in the Congo Square. Congo Square and the Mississippi Delta - and what flowed into the future from those two places - is really all I KNOW or ever CARE TO KNOW about what is truly, truly GOOD IN LIFE. And it's gone.This is very well written, accurate and thought provoking. To say the least, especially in the context of what American music is at it's core. Or at least the good stuff
One can't disregard the influence on popular music that politics, and "history" has had on all music. Look at the sixties when tourmoil and revolution was happening around the world, American music wasn't the best or most popular but I guess it depends on where you lived then. Then let's not forget Stanz Getz and his Girl From Ipanema and what influence that had on Jazz as a whole, Brazil Bossa Nova ryhthms are still deep within the rythms of most music today. [Edited 12/21/07 10:04am] | |
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My attention span is of the worst and I feel nothing short of condescended. But, I'll be alright. I've wanted to express something as eloquently bestowed upon me and the rest of the org as freshyface's beautiful "FULL" summary of what music (Or anything else for that matter.) is to him/her. One question: Are you a writer? Because if not, by all means, "BECOME ONE WITH THE CIRCLE!!!" "ENVY" is such a dirty emotion.....which is why I "HATE" envy so. Can't help myself, though. | |
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