admittedly i don't know much about hip hop, but i like that record.iratasan wrote:that is one fine ass album. i would even go as far as saying that this is a LEGENDARY album. anybody who has even the slightest idea what hip hop really stood for must own this baby.ketstroxan wrote:
What are you listening to RIGHT NOW??
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ketstroxan
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if you like that record then you have understood more about hiphop than most people that nowadays claim to know about hip hop.ketstroxan wrote:admittedly i don't know much about hip hop, but i like that record.iratasan wrote:that is one fine ass album. i would even go as far as saying that this is a LEGENDARY album. anybody who has even the slightest idea what hip hop really stood for must own this baby.ketstroxan wrote:
influential to who? Hiphop and rap truly has never appreciated this album. It is incredible though, I posted it before and I'll say it again, Dust Brothers and the boys made a masterpiece with this albumspunkmonkey wrote:Easily one of the top 5 most influential rap records ever released.
http://www.distractyourface.comfluffhead13 wrote:after an A in multidimensional calculus and an A in matrices and differential equations, how dare u questions my math skills.
THE HORKEY CLUB 2013,14,15,16,17,18,19
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spunkmonkey
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Mainly to producers. The Dust Brothers showed the rest of the world what was possible, even if the Beasties couldn't rap their way out of a paper bag.jimmy4wmu wrote:influential to who? Hiphop and rap truly has never appreciated this album. It is incredible though, I posted it before and I'll say it again, Dust Brothers and the boys made a masterpiece with this albumspunkmonkey wrote:Easily one of the top 5 most influential rap records ever released.
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RupertPupkin
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The way sampling was used on that album broke the mould. They were far from the first to sample other people's breaks but no-one had used so many in one track (and used them so well) before the Dust Brothers. Influential not only on hip hop but on genres of music that came after eg trip hop
this aggression will not stand, man.
RupertPupkin wrote:The way sampling was used on that album broke the mould. They were far from the first to sample other people's breaks but no-one had used so many in one track (and used them so well) before the Dust Brothers. Influential not only on hip hop but on genres of music that came after eg trip hop
and also changed the way sampling was dealt with from a legal standpoint. if i'm not mistaken, that was the last album made with "free" samples (before every thing used/sampled needed to be cleared+/or paid for.
Grateful69Phish wrote:anybody this stupid doesn't become naturally intelligent!
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RupertPupkin
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Mmmm I love this album so much
this aggression will not stand, man.
http://www.dead.net/features/tapers-sec ... ry-25-2009
As we mentioned last week, we're going stick within a two year or so period this week at Tapers' Section, 1969-1971, but the music's great, so we hope you don't mind.
Our first stop this week is at the Avalon Ballroom in San Francisco, on 1/25/69, where the Grateful Dead were playing the middle night of a three night run of shows that was being recorded for Live/Dead. This run of shows, as some of you might know, was the first live recording to the then-brand-new technology of 16 track audio tape. The more common 8 track tape had been in use for live recording for a few years, but in late 1968 the folks at Ampex created the first 2” 16 track recording machines, which, of course, the Grateful Dead had to try. From the middle show, we have this terrific Dark Star.
Next up is a stop in Hawaii, to a show on 1/23/70, the first of a two night run of shows that would prove to be Tom Constanten's final shows as an official member of the Grateful Dead. From this show, we have the great 1-2 punch of classic 1970 Grateful Dead: Good Lovin', That's It For The Other One. A week later the Grateful Dead would be playing in New Orleans, where they were busted on Bourbon Street, and the rest is history…
Speaking of being busted on Bourbon Street, we'll start our next sequence of music, from 1/24/71 in Seattle, with the song that was inspired by that and other events on the road, followed by some other great 1971 Grateful Dead: Truckin', China Cat Sunflower>I Know You Rider, Hurts Me Too, Cumberland Blues. As way out there as 1971 could get with The Other One and Dark Star, it is also great to hear how perfectly the Grateful Dead were able to pull off blues and country music.
Finally this week, we have another jam from the same week as the one above, from 1/21/71 at UC Davis, located about halfway between San Francisco and Sacramento, and home to an outstanding veterinary college. From this show, we have Mama Tried, Around and Around, Cumberland Blues, Casey Jones. Mickey was still in the band but would stay for less than a month before pursuing other things, including producing the amazing Rolling Thunder album.
Next week we'll have a whole lot of 1978 Grateful Dead for you, plus a little taste of 1966. Well, perhaps not so little. Have a great week, and we'll see you here at the Tapers' Section next Monday.
David Lemieux
vault@dead.net
As we mentioned last week, we're going stick within a two year or so period this week at Tapers' Section, 1969-1971, but the music's great, so we hope you don't mind.
Our first stop this week is at the Avalon Ballroom in San Francisco, on 1/25/69, where the Grateful Dead were playing the middle night of a three night run of shows that was being recorded for Live/Dead. This run of shows, as some of you might know, was the first live recording to the then-brand-new technology of 16 track audio tape. The more common 8 track tape had been in use for live recording for a few years, but in late 1968 the folks at Ampex created the first 2” 16 track recording machines, which, of course, the Grateful Dead had to try. From the middle show, we have this terrific Dark Star.
Next up is a stop in Hawaii, to a show on 1/23/70, the first of a two night run of shows that would prove to be Tom Constanten's final shows as an official member of the Grateful Dead. From this show, we have the great 1-2 punch of classic 1970 Grateful Dead: Good Lovin', That's It For The Other One. A week later the Grateful Dead would be playing in New Orleans, where they were busted on Bourbon Street, and the rest is history…
Speaking of being busted on Bourbon Street, we'll start our next sequence of music, from 1/24/71 in Seattle, with the song that was inspired by that and other events on the road, followed by some other great 1971 Grateful Dead: Truckin', China Cat Sunflower>I Know You Rider, Hurts Me Too, Cumberland Blues. As way out there as 1971 could get with The Other One and Dark Star, it is also great to hear how perfectly the Grateful Dead were able to pull off blues and country music.
Finally this week, we have another jam from the same week as the one above, from 1/21/71 at UC Davis, located about halfway between San Francisco and Sacramento, and home to an outstanding veterinary college. From this show, we have Mama Tried, Around and Around, Cumberland Blues, Casey Jones. Mickey was still in the band but would stay for less than a month before pursuing other things, including producing the amazing Rolling Thunder album.
Next week we'll have a whole lot of 1978 Grateful Dead for you, plus a little taste of 1966. Well, perhaps not so little. Have a great week, and we'll see you here at the Tapers' Section next Monday.
David Lemieux
vault@dead.net
“But as Garcia said, you know, the '60s ain't over till the fat lady gets high. And that means that whatever it takes to get you high: sometimes grief, sometimes it's prayer, fasting. I prefer a joint.”-Ken Kesey