Showing posts with label Music Video. Show all posts
Showing posts with label Music Video. Show all posts
Thursday, April 7, 2011
Monday, December 6, 2010
DA MONDAY BREAK...........ISAAC HAYES " HYPERBOLICSYLLABICSESQUEDALYMISTIC "
THE WEST COAST ESP. DR. DRE LOVED THIS BREAK , IT COULD BE SAID THAT IT WAS THE WEST COASTS " APACHE " .
IN MY CLOUDY MIND I WOULD GUESS EVERY FORTY THAT WAS CRACKED OPEN AT A PARTY ON THE WEST COAST WAS DONE TO THIS TRACK , AT NEARLY 10 MINUTES EVEN A NOVICE COULD ROLL A PHATTY AND BE BLASTED BY THE MAIN SAMPLING POINT , THEN THE MAGIC KICKS IN........AROUND 7.15 MARK BUT THE START BEEN NICKED TO BIT'S TOO....
FIRE WAN UP FOR THE MIGHTY PIMP MACHINE THAT WAS MISTER...
www.goldy.vwat.net
IN MY CLOUDY MIND I WOULD GUESS EVERY FORTY THAT WAS CRACKED OPEN AT A PARTY ON THE WEST COAST WAS DONE TO THIS TRACK , AT NEARLY 10 MINUTES EVEN A NOVICE COULD ROLL A PHATTY AND BE BLASTED BY THE MAIN SAMPLING POINT , THEN THE MAGIC KICKS IN........AROUND 7.15 MARK BUT THE START BEEN NICKED TO BIT'S TOO....
FIRE WAN UP FOR THE MIGHTY PIMP MACHINE THAT WAS MISTER...
www.goldy.vwat.net
Sunday, September 19, 2010
Bilal Covers Bob Marleys "Is This Love"
Check out this pretty dope cover by Bilal courtesy of VTECH. Bilal reworks Bob's reggae classic into a smokey soulful number. Keep an eye over for future video's in the series feature more covers from Bilal including Portisheads "Strangers". Bilal latest album "Airtight's Revenge" is out now.
Monday, September 6, 2010
DA MONDAY SAMPLE............THE WINSTON BROTHERS " AMEN "
THE WINSTON BROTHER'S " AMEN "
( ONE MINUTE AND TWENTY SIX SECONDS IN KIDDDDDD )
The song itself achieved fame within the hip hop and subsequent electronic music communities when a former Downstairs Records employee known as Breakbeat Lenny compiled it onto his 1986 Ultimate Breaks and Beats bootleg series for DJs. Lenny hired Louis Flores to edit four bars of the drum break at a much slower speed than the remainder of the song. Although it created a jarring difference in tempo in the center of the song, it allowed Hip-Hop DJs to extend the beat by switching between two copies of the record on two separate turntables at a danceable tempo while ignoring the rest of the song (this technique was created by Kool Herc in 1974 and became a trend at large in 1977 with the efforts of Grandmaster Flash). By 1987, E-mu released the SP1200 sampler, altering Hip-Hop production techniques from drum machines to sampled loops. Most producers began to mine their loops initially from Ultimate Breaks and Beats series, causing the Amen break to gain a massive amount of fame in the late 80s hip-hop community, crossing over to the U.K. and European dance music scenes shortly afterwards. Eventually, the song was reissued in its original form at a higher quality sound, and since most contemporary electronic music producers were speeding up the sample, the bootlegged slower edited version fell out of favor.
WHERE DO YOU START WITH THIS ONE. !!!!!!!!!!
ONE THING TO CONSIDER WHILST BROWSING. TALK ABOUT HAVING THE LOTTERY TICKET IN YOUR HAND AND LOSING IT ON BUMPER , BUMPER JACKPOT , ROLL-OVER AND OVER WEEK.
( Neither the performer, drummer G.C. Coleman, nor the copyright owner Richard L. Spencer have ever received any royalties or clearance fees for the use of the sample. )
I CAN'T THINK OF ANOTHER BREAK THAT NOT ONLY INSPIRED MANY A SAMPLER BUT IT COULD BE ARGUED STARTED A WHOLE MUSIC GENRE / SCENE
" By 1990, at the height of British rave culture, the Amen began to appear in an increasing number of breakbeat hardcore productions. Hardcore emphasized a unique, harsh, aggressive sound that drew strongly from hip-hop and early acid house. It added a hip-hop influence with the addition of breakbeats and increased the tempo. A strong reggae and ragga influence emerged in 1991 and 1992, with uplifting piano melody loops or Jamaican reggae samples used at normal speed layered on top of frenetic 150 to 170 BPM breakbeats. This sound quickly evolved to a point where sliced and diced drum breaks in conjunction with low frequency bass lines became the important features of many tracks. This style was initially referred to as Jungle but later, as it progressed and rhythmic elements were refined, the term drum and bass became more common. Around the mid 1990s a number of IDM producers, who had been influenced by the Jungle/DnB sound, began to focus on the style and started exploring it in the context of electronica. Making "danceable" club oriented tracks was not a prerequisite. In fact, the more outlandish and obscure the manipulations, the more aesthetically pleasing the records were to aficionados—a trend that continues to this day in the form of breakcore. The amen break can still be found in many productions and there has been a renewed interest in the "old-skool" Jungle style in recent years. Luke Vibert, one of the many IDM producers who has explored this break (other examples include Squarepusher), has released several records under the moniker Amen Andrews, using the Amen on nearly every track, heavily sliced and edited, yet recognizable. "
ONE DROP CLASSIC.......
WHISTLE KREW.............KIK IT MAN........
SCREWED , STRETCHED AND PLAIN BUTHERED.
MURDERING IT.............U CLIPP & GLITCH WILL COME IN YOUR PANTS
THEN THE LONG HAIR TYPES GOTS A DOSE OF " AMEN "
AND YES I WANT TO SEE SLIPKNOW LIVE BEFORE I DIE.
THIS COULD GO ON AND ON AND ON AND ON........BUT
AND HERE'S A YOUTUBE HIT DOCUMENTARY ON THE " BREAK "
ONE.
GOLDY
www.goldy.vwat.net
( ONE MINUTE AND TWENTY SIX SECONDS IN KIDDDDDD )
The song itself achieved fame within the hip hop and subsequent electronic music communities when a former Downstairs Records employee known as Breakbeat Lenny compiled it onto his 1986 Ultimate Breaks and Beats bootleg series for DJs. Lenny hired Louis Flores to edit four bars of the drum break at a much slower speed than the remainder of the song. Although it created a jarring difference in tempo in the center of the song, it allowed Hip-Hop DJs to extend the beat by switching between two copies of the record on two separate turntables at a danceable tempo while ignoring the rest of the song (this technique was created by Kool Herc in 1974 and became a trend at large in 1977 with the efforts of Grandmaster Flash). By 1987, E-mu released the SP1200 sampler, altering Hip-Hop production techniques from drum machines to sampled loops. Most producers began to mine their loops initially from Ultimate Breaks and Beats series, causing the Amen break to gain a massive amount of fame in the late 80s hip-hop community, crossing over to the U.K. and European dance music scenes shortly afterwards. Eventually, the song was reissued in its original form at a higher quality sound, and since most contemporary electronic music producers were speeding up the sample, the bootlegged slower edited version fell out of favor.
WHERE DO YOU START WITH THIS ONE. !!!!!!!!!!
ONE THING TO CONSIDER WHILST BROWSING. TALK ABOUT HAVING THE LOTTERY TICKET IN YOUR HAND AND LOSING IT ON BUMPER , BUMPER JACKPOT , ROLL-OVER AND OVER WEEK.
( Neither the performer, drummer G.C. Coleman, nor the copyright owner Richard L. Spencer have ever received any royalties or clearance fees for the use of the sample. )
I CAN'T THINK OF ANOTHER BREAK THAT NOT ONLY INSPIRED MANY A SAMPLER BUT IT COULD BE ARGUED STARTED A WHOLE MUSIC GENRE / SCENE
" By 1990, at the height of British rave culture, the Amen began to appear in an increasing number of breakbeat hardcore productions. Hardcore emphasized a unique, harsh, aggressive sound that drew strongly from hip-hop and early acid house. It added a hip-hop influence with the addition of breakbeats and increased the tempo. A strong reggae and ragga influence emerged in 1991 and 1992, with uplifting piano melody loops or Jamaican reggae samples used at normal speed layered on top of frenetic 150 to 170 BPM breakbeats. This sound quickly evolved to a point where sliced and diced drum breaks in conjunction with low frequency bass lines became the important features of many tracks. This style was initially referred to as Jungle but later, as it progressed and rhythmic elements were refined, the term drum and bass became more common. Around the mid 1990s a number of IDM producers, who had been influenced by the Jungle/DnB sound, began to focus on the style and started exploring it in the context of electronica. Making "danceable" club oriented tracks was not a prerequisite. In fact, the more outlandish and obscure the manipulations, the more aesthetically pleasing the records were to aficionados—a trend that continues to this day in the form of breakcore. The amen break can still be found in many productions and there has been a renewed interest in the "old-skool" Jungle style in recent years. Luke Vibert, one of the many IDM producers who has explored this break (other examples include Squarepusher), has released several records under the moniker Amen Andrews, using the Amen on nearly every track, heavily sliced and edited, yet recognizable. "
ONE DROP CLASSIC.......
WHISTLE KREW.............KIK IT MAN........
SCREWED , STRETCHED AND PLAIN BUTHERED.
MURDERING IT.............U CLIPP & GLITCH WILL COME IN YOUR PANTS
THEN THE LONG HAIR TYPES GOTS A DOSE OF " AMEN "
AND YES I WANT TO SEE SLIPKNOW LIVE BEFORE I DIE.
THIS COULD GO ON AND ON AND ON AND ON........BUT
AND HERE'S A YOUTUBE HIT DOCUMENTARY ON THE " BREAK "
ONE.
GOLDY
www.goldy.vwat.net
Wednesday, September 1, 2010
Cee Lo - Fuck You (official video)
Heres the official video to Cee Lo homage to the "F" word. Taken from his next album "Lady Killers" due out on Dec 7
Wednesday, August 25, 2010
A Tribe Called Quest @ Rock The Bells (West) 2010
Here's some footage of Tribe's performance from this years Rock The Bells (West) gig, where they ripped the stage with a performance of there classic album Midnight Marauders. Paul Rosenberg had the pleasure of introducing the historical group.
Mac Miller - Kool Aid & Frozen Pizza
There's some people who claim Hip Hop is still dead, but with kids like this in the game there's hope yet. You can download Mac latest mixtape K.I.D.S. here
Tuesday, August 24, 2010
Pogo
Late one night i was using stumble upon to try kill my boredom and after numerous stumbles i finally came across a youtube video featuring the work of an Australian dude by the name of Pogo. The following is taken from his youtube profile "Pogo is an electronic music producer currently living in Perth, Western Australia. He is known for his work recording small sounds from a single film or scene and sequencing them to form a new piece of music.
His most notable track, Alice, a composition of sounds from the Disney film Alice In Wonderland, was received with much success gaining over 4 million views on YouTube as of December 2009. Pogo has since produced tracks using films like Mary Poppins, Harry Potter, Up, Hook, Willy Wonka & the Chocolate Factory, and Terminator 2: Judgement Day."
Personally i can't get enuff of this guys work, i've never use youtube as much. Anyways here's what i think is his stand out track by far. You can check out the rest of Pogo's work here
His most notable track, Alice, a composition of sounds from the Disney film Alice In Wonderland, was received with much success gaining over 4 million views on YouTube as of December 2009. Pogo has since produced tracks using films like Mary Poppins, Harry Potter, Up, Hook, Willy Wonka & the Chocolate Factory, and Terminator 2: Judgement Day."
Personally i can't get enuff of this guys work, i've never use youtube as much. Anyways here's what i think is his stand out track by far. You can check out the rest of Pogo's work here
Black Milk - Deadly Medley feat. Elzhi & Royce 5' 9"
I guess my first post has got to be a good'n, so with that in mind i present to you this BANGER from a trio of Detroit's finest. Black Milk is about to drop the modestly titled "Album of The Year" next month and this is the lead single. Pretty much what your expect from these dudes, Black delivers yet another boom bap classic beat and the rhymes are well up to par. I for for one hope this album lives up to its name
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