Hard News: Friday Music: Original Beats
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Ian Dalziel, in reply to
Two kilo mockingbird...
GMF & TFF
are riffing on PP&M ain't they?
or was it Trad.?Hush little baby, don't say a word
Pappa's gonna buy you a mockingbirdIf that mockingbird don't sing
Pappa's gonna buy you a diamond ringIf that diamond ring turns brass
Pappa's gonna buy you a lookin' glassIf that lookin' glass gets broke
Pappa's gonna buy you billy goatIf that billy goat don't pull
Pappa's gonna buy you a cart and bullIf that cart and bull turns over
Pappa's gonna buy you a doggie named RoverIf that dog named Rover don't bark
Pappa's gonna buy you a horse and cartIf that horse and cart fall down
You'll still be the sweetest little baby in town -
Hey, here's some modern hip hop. Chris Brown has a song called "Loyal". Sonically it's a quality tune, but the lyrics are a bit shit, with the refrain "these ho's ain't loyal". And, you know, general Chris Brown ickiness.
But there's a cool remix with a lunch of female MCs subverting the lyrics, flipping around the notion of loyal, or lack thereof.
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Out jogging with a bit of KRS-ONE entering the brain this week. Boogie Down Productions come correct...
and something cool from more recently...
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Russell Brown, in reply to
But there’s a cool remix with a lunch of female MCs subverting the lyrics, flipping around the notion of loyal, or lack thereof.
Still not liking it!
I grew up with dense wordplay and provocative sentiment ...
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Rich Lock, in reply to
Many Americans don’t get the connection there. It’s as if EDM is seen as something that came out of a void, rather than being the nth echo of a dance music revolution that came out of New York and Chicago and found its form(s) in Europe.
What I find wierdest is that (dubstep aside), the stuff being played in the US by the big house DJs sounds exactly the same as the stuff being played in the big UK clubs 20 years ago. If you listen to Chicago house from the mid-80's you can hear the difference between that and the homegrown house music being played in Manchester from '88 onwards in the UK, which then mutated again going into the 90's with the Criminal Justice Act and the Big Club boom. They're sonically distinct eras, but stuff being played today sounds indistinguishable from stuff 10-20 years ago. it's possible I might just be being an old fart, but I don't think so.
It was also wierd back in the '90's when E was the big party drug watching US music and popular culture react to it. Or rather, not. The closest they got was D12's 'purple pills'. It's like they suddenly discovered 'molly' 20 years after the rest of the world.
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Sacha, in reply to
If that dog named Rover don't bark
Pappa's gonna buy you a horse and cartPromises
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WH,
I've got a track for you, Brown, if you can handle my cool, cool freshness.
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Russell Brown, in reply to
and something cool from more recently…
Yeah, that's cool.
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John Lee Hooker playing ‘Boom Boom’ on the BBC in 1964. Lean, mean, sexual, politically incorrect. It’s kind of amazing that this sort of thing got broadcast back then.
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Lorde opened her sold-out Brixton Academy show a few hours ago with 'Glory and Gore':
I was worried about her voice, but it's definitely back in good shape.
The Daily Telegraph's reviewer called her Shepherd's Bush Empire show the night before "mesmerising" and compared her to a young Kate Bush.
The Independent went for "malignantly powerful".
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MaDMAn across the water...
I was gonna disinter one of the psychoactive threads, but here is as good a place as any to note (in case you missed it) that MDMA pioneer Alexander Shulgin died on June 3rd.see also: his Top 12 psychoactive creations.
(one) ... makes all sounds appear to drop by an octave or so, and makes many instruments sound like a clanging bell. But it offers a fascinating insight into the way humans process sound...
Might be an interesting overlay to map the musical connections of the disciples of each of them, creators and audience/ culture alike...
(bound to have been done...)I bet those medieval nuns with the Ergot riddled bread went crazy on their vespers, too... putting the MAD in Madrigal was high renaissance ...
Plato intimated that
"For a change to a new type of music is something to beware of as a hazard of all our fortunes. For the modes of music are never disturbed without unsettling of the most fundamental political and social conventions."
or similar, depending on which translation you read...
Can rapping ukuleles, hiphopera, and maybe jewelled banjos, or something new, rise up , and change the State before the election... -
Perhaps Lorde is it
- the mode du jour
a change artist!Perhaps the masses will
rally round her banner
and oust the rulers...a seconded coming
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Joe Wylie, in reply to
Plato intimated that
“For a change to a new type of music is something to beware of as a hazard of all our fortunes. For the modes of music are never disturbed without unsettling of the most fundamental political and social conventions.”
There's a Fugs song about that. While it's not in the same league as their Ramses the Second is Dead, My Love, or their inspired raiding of Matthew Arnold, and perhaps serves to demonstrate why there aren't a lot of Plato-derived songs, it has curiosity value.
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Ian Dalziel, in reply to
Nice serve, Joe!
:- )There’s a Fugs song about...
... The CIA, too,
that still has some legs, I reckon... -
Brent Jackson, in reply to
... and compared her to a young Kate Bush.
Now that you mention it - that comparison ain't half bad.
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But who the hell is Iggy Azalea (with the most improbable name)?
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Craig Ranapia, in reply to
It’s kind of amazing that this sort of thing got broadcast back then.
Not really amazing at all – it’s exactly the same way Joss Whedon managed to smuggle a not at all mild but archaic obscenity past the MPAA and the studio in The Avengers. If the squares don’t ask, a hep cat never tells. :)
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Ian Dalziel, in reply to
another underhand bowler...
who the hell is Iggy Azalea
an Aussie sledger!
in a battle of the Billboards... -
An extended 'Team', with costume change, from the same Brixton Academy show. Extraordinary stuff.
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Craig Ranapia, in reply to
I'm not a big live gig goer (to put it mildly), but I have mad respect for people who master the theatre of working a room -- it's not just about the music, because I've seen performers who are musically fine but they're still...dead.
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TracyMac, in reply to
Wow, werk that room, gurl.
Simple but really effective stagecraft = WIN. Talk about pressing those emotional buttons.
Speaking of Kate Bush analogues, I get it in terms of Lorde's image as a bit fey and very distinctive-looking (and an endearing hint of dorkiness). I'm so thankful for the lack of an ear-splitting upper register and interpretative dance.
(Love what Kate achieved as a performer, and she is a wonderful person. Never bought any of her music after the Wuthering heights single.)
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Gabor Toth, in reply to
I was worried about her voice, but it’s definitely back in good shape.
The Daily Telegraph’s reviewer called her Shepherd’s Bush Empire show the night before “mesmerising” and compared her to a young Kate Bush.
The Independent went for “malignantly powerful”
Meanwhile, back in little old N'zild, Stuff seize upon a mildly negative review from the Guardian and use it to splash "**Board by Lorde**; 'A little monotonous'" as the main feature on the front page of their website. She is obviously getting far too big for her boots for New Zealand's biggest news website who feel it's time for them to get out the great Kiwi clobbering machine and cut that tall poppy down to size.
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Mike O'Connell, in reply to
And watch out too for the poppy cutter Lydia Ko. Forget about getting the All Blacks to Samoa - more importantly, a campaign is needed to get Lorde to play in the South Island for the first time - talk it up like yeah (yeah)!!
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For your, ummm, edification. Found this via a post on Weibo: Psy and Snoop Dogg?
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Russell Brown, in reply to
Meanwhile, back in little old N’zild, Stuff seize upon a mildly negative review from the Guardian and use it to splash “**Board by Lorde**; ‘A little monotonous’” as the main feature on the front page of their website.
Yeah. Every other review I've seen from her London shows has been a rave, but they pick the negative line out of that one.
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Relevant …
Chuck D’s fight with rap radio – and the constant use of the n-word – has been bubbling on Twitter and now it’s broken loose.
Chuck D says US urban radio disrespects its own audience
Hot 97’s approach to rap “[is] just a sloppy presentation of the art form, the worst presentation known to man,” Chuck D went on. “Radio should lead not follow.” In addition to complaining about the foul language of performers like Nicki Minaj, 50 Cent and YG, Chuck D criticised Hot 97 and other urban stations’ approach to programming: “[’Urban music’] should be a representation of playing music by a lot of different artists – non-black artists, too.” Later, he tweeted an example: “Underground-UnderFound-Local-INTL-Women-Classic RAP.”
According to Chuck D, radio stations, record labels and festival promoters can begin changing the culture by including ethics clauses in their contracts, prohibiting artists from being “derogatory to the community [they] come from”. The New Orleans jazz festival already does this, he said, and he wants to brainstorm more ideas with people in “London [and] maybe Sydney”, where hip-hop is apparently “treat[ed] … more dignified”.
Failing that, Chuck D has also offered support for petitions like one calling for the United States’ federal communications commission to cancel Hot 97’s radio licence. The rapper said he wants to accomplish something tangible “by year’s end”.
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