APOS 001 CUNNINLYNGUISTS Southernunderground CD
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Strange Journey Volume 2 All New Music from Cunninlynguists
DISC ONE DISC TWO 1. Intro 1. SouthernUnderground (Inst) 2. SouthernUnderground 2. The South (Inst) 3. The South 3. Love Ain't (Inst) 4. Love Ain't 4. Rain (Inst) featuring Tonedeff 5. Rain 5. Doin’ Alright (Inst) 6. Doin’ Alright 6. Old School (Inst) 7. Interlude 1 7. Seasons (Inst) 8. Old School 8. Nasty Filthy (Inst) 9. Seasons 9. Falling Down (Inst) featuring Masta Ace 10. Nasty Filthy 10. Sunrise/Sunset (Inst) featuring Supastition & 11. Appreciation (Remix) - (Inst) Cashmere The PRO 11. Falling Down 12. Dying Nation (Inst) 12. Sunrise/Sunset 13. Seasons (Remix) featuring Masta Ace 13. Interlude 2 14. Appreciation (Remix) 14. Love Ain't (Remix) featuring featuring Cashmere The PRO Tonedeff 15. Dying Nation 15. The South (Remix) 16. War 16. Karma One of the most consistent independent Hip Hop groups of the decade, Kentucky trio CunninLynguists re-release their critically acclaimed sophomore album SouthernUnderground as a two disc deluxe edition. The group, made up of Deacon The Villain, Natti and Kno, aim to make music that reminds listeners why they like Hip Hop in the first place. Backed with quality beats and rhymes, gritty sounds, witty lyrics and low ends that jump out the trunk like Rajon Rondo, the ‘Lynguists recapture the soul in southern Hip Hop, with what Spin Magazine calls “Outkast’s tragicomic poignancy”. SouthernUnderground, originally released independently in 2003, includes features from Masta Ace, Supastition and Tonedeff. Additional production from RJD2 and Domingo, goes hand-in-hand with beats from the main producer Kno, who was once described as “one of the top loop-miners east of the Mississippi” by URB Magazine. -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Dokkedal/Dixen Och Dj Bang Bang Club
Uppsala 29.09.2010 Pressmeddelande RJD2 Uppsala Konsert & Kongress Onsdag 6 oktober, 20.00 Sal B Support: Dokkedal/Dixen och Dj Bang Bang Club Med en mix av hiphop, soul och pop är RJD2 nu större än någonsin. Ett bra tecken är att en av hans låtar används som signatur i den enormt populära tv-serien Mad Men. Onsdag 6 oktober kommer han till Uppsala. Ramble John ”RJ” Krohn startade sin lysande karriär hemma i Ohio, USA. Han lånade ett par skivspelare av en kompis och började sin bana som DJ. Med en mix av hiphop, soul och pop är han nu större än någonsin. Ett bra tecken är att en av hans låtar används som signatur i den enormt populära tv-serien Mad Men. RJD2 säger att en av hans vänner använde RJD2 om honom i sina raplåtar, sedan dess har namnet blivit kvar. Hans första album Deadringer togs emot med jubel av både publiken och branschen. Och det ledde till ett samarbete med rapparen Blueprint som de kallade Soul Position. Det följdes upp av ytterligare två album unlimited EP och 8 million Stories innan han kom med sitt andra soloalbum, Since We Last Spoke, på bolaget Definitive Jux. Sedan dess har han samarbetat med och producerat en mängd rapartister, Copywrite, Cunninlynguists, Cage, MF DOOM, Diverse och Aceyalone, för att ta några. Under 2007 släppte han soloalbumet The Third Hand. RJD2 är en kultartist i skateboardvärlden och skateboardfilmkretsar där hans musik ofta används i filmmontage. Förra året startade han sin egen skivlabel RJ’s Electrical Connections och har återutgett plattor som Your Face Or Your Knee Caps, The Horror, och Since We Last Spoke och en box som han valt att helt enkelt kalla 2002-2010. -
Top R &B /Hip -Hop Catalog Albums
OCTOBER. E Compiled by SoundScan from a national subset 2001 Billboard I Top R. H Ho Albu panel of core R &B /Hip -Hop stores. Y O C 2 W Q O z 3 G O 3 n o ARTIST TITLE á Ñ I- ARTIST TITLE ¿ (7 -' 3 M P R I N T & NUMBER /DISTRIBUTING LABEL á ° g S IMPRINT & NUMBER /DISTRIBUTING LABEL á rs° _-t NUMBER 1 % := 2 WAIMhadia1 50 37 23 JANET v:rum 10144.11298/18981 All For You 1 1 59 3 JAY -Z RorA- Fella /Del Joel 586396' /IGJMG112.98/1998: The Blueprint 1 47 42 12 LIL' ROMEO Saulja501981/F1mM,(1198/1798) LB. Romeo 5 #' HOT SHOT DEBUT # 45 35 8 GANGSTA BOO Hypnotize Minds/Loud 19z5/CRG112.93E0/17981 Both Worlds, *69 8 1 GERALD LEVERT Elektra62855/EEGnz9aId98, Gerald's World 2 © 52 41 65 NELLYA' Fo Reel 157743 /Universa1It2.9w1a98) Country Grammar 1 2 2 FABOLOUS Duo, Storm/110ton132b79' /LLG11298119981 Ghetto Fabolous 2 53 43 27 112 P,nr Boy 53039 /Arslau298/IB991 Part Ill 1 34 2 KILLARMY Wu- Tang /Loud19Z7/CRG(ts- SOE0/17.98) Fear Love & War 34 4 3 6 MAXWELL A Columbia 67136/CRG11298ED/18981 Now 1 - Roc- ell 3 1 4 MARY J. BLIGE MCA 112616.11298/1898) No More Drama 1 51 46 13 BEANIE SIGEL AF a /0et.1 ant 549538 /IDJMG11298/18NI The Reason 2 7 4 4 BRIAN MCKNIGHT Motowo014743+Universal(12.98 /18.981 Superhero 4 55 44 7 SOUUA SLIM No Linda South 2001p198/1798I The Streets Made Me 42 5 2 1C AALIYAH A En:c+.g,ound10082'11298/1899I Aaliyah 2 58 52 50 JA RULE A M, u der Inc /Dot Jam 542934./IDJMG1129w18.98) Rule 3:36 1 Anna751083/Arrem1,11298,19981 5 9 5 12 ALICIA KEYS A' J2000211198/1798) Songs In A Minor 1 60 50 10 KURUPT Space Boogie: Smoke Oddessey 3 1 0298EOi18981 t PACESETTER 4 g 0} Lit MACY GRAY Emc85200' The ID 9 cia 96 - 2 DENNIS DA MENACE 1ssAvenu woos 9scRI, The Wonderful World Of Dennis 60 12 10 7 USHER Arista 14715'112.98/18981 8701 3 40 56 38 6 VARIOUS ARTISTS Del Jam 586239/IDJMGlt98n891D The Source Hip -Hop Music Awards 2001 34 64 66 8 MR. -
Evan Dando Fireside Mauro Scocco Jesse Malin Libertines
Nummer 2 • 2003 Sveriges största musiktidning Evan Dando Fireside Mauro Scocco Jesse Malin Libertines TheCardigans Appliance • The Radio Dept. • Luna • All Systems Go BLÅGULT GULD: Anders Ilar • Chords • Natalie Gardiner • Pauline Kamusewu • Dialog Cet Groove 2 • 2003 Ledare Omslag Nick Cave av Polly Borland Byt ut politikerna! Groove Box 112 91 Tre frågor till Björn Olsson sidan 4 404 26 Göteborg En idé som kanske inte är så radikal nister Thomas Öberg och Stefan The Radio Dept. sidan 4 som man vid en första anblick kan Sundström jordbruksminister. Telefon 031–833 855 tro vore att göra musiker och andra Marit Bergman miljöminister, Dre- En överklass i nitar sidan 4 Elpost [email protected] kulturarbetare till politiker – för en gen näringsminister, utrikesminis- http://www.groove.st Appliance sidan 6 roligare och mer mänsklig framtid. ter ska Hives-Pelle vara, Promoe Vi skulle utrota hyckleriet kring justitieminister, Thomas diLeva Vad är det för fel på folk? sidan 6 Chefredaktör & ansvarig utgivare sprit och festande hos våra folkval- försvarsminister och som statsmi- Gary Andersson, [email protected] Luna sidan 8 da och därmed inse att samhällets nister kunde Robyn passa. Titta på toppar faktiskt också bara är män- denna lista och säg mig ärligt att Skivredaktör Ett subjektivt alfabet sidan 8 niskor. Dessutom skulle vi styra in detta skulle funka sämre än upp- Björn Magnusson, [email protected] på en mer humanistisk syn som ställningen för vår tandlösa och Blågult guld sidan 10 inriktar sig mer på livskvalitet än på räddhågsna ledning. Nej, jag tänk- Mediaredaktör Dan Andersson, [email protected] Evan Dando sidan 12 sterila ekonomiska kalkyler. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Lushlife Ritualize About This Record
LUSHLIFE RITUALIZE ABOUT THIS RECORD "Peace to Roky Erickson / Peace to Bo Derek / So lost in the television / Walk with the elephants / To die by their relatives / Lushlife holy ghost / Float through the tenements / Back to irrelevance" From the moment you hear the bristling boom-bap chorus on album-opener "Totally Mutual Feeling," it's apparent that Lushlife's third full-length finds the Philadelphia rapper-producer at his most introspective. Themes of isolation and mortality permeate Ritualize, a cinematic hour-long odyssey co-produced by TRACK LIST enigmatic production trio, CSLSX (pronounced "Casual Sex") and featuring contributions from Ariel Pink, Killer Mike, Freeway, Marissa Nadler, RJD2, and 01 Total Mutual Feeling 4:00 more. With CSLSX at the boards, an entire universe opens up for Lush, where 02 The Waking World ft. I Break Horses 4:16 the pulsating Juno synths of '80s LA night music sit side-by-side with 03 Hong Kong ( Lady Of Love ) ft. Ariel Pink 4:17 gorgeously propulsive indie-leaning jams, and low-fi soul burners too. The 04 Incantation ft. Deniro Farrar 4:42 resulting LP is a post-blog-era joint that seems to exhale the whole of the 20th 05 Undress Me In The Temple 1:35 century in a single, fascinating breath. 06 Body Double 4:53 "After toiling over two self-produced LPs in the last half-decade, I felt 07 Toynbee Suite ft. Nightlands, RJD2, Yikes the Zero 9:11 compelled to bring on an outside production team for Ritualize," Lushlife 08 Strawberry Mansion ft. Freeway 2:48 (born Raj Haldar) explains. -
TEG 77513 MARLEY MARL in Control DELUXE CD
DISC ONE 119 Marley Intro 10 ^ 101 Marley Intro 1 ^ 120 Wack Itt feat. Roxanne Shanté 102 Droppin' Science feat. Craig G. 121 Marley Outro ^ 103 Marley Intro 2 ^ DISC TWO 104 We Write The Songs 201 Droppin' Science (Hip Hop Version) ** feat. Biz Markie and Heavy D. 202 The Symphony (Remix) ** 105 Marley Intro 3 ^ 203 Wack Itt (Extended Version) ** 106 The Rebel 204 We Write The Songs (Live At The Apollo) * feat. Tragedy The Intelligent Hoodlum 205 Symphony, Duck Alert, Droppin Science 107 Marley Intro 4 ^ (Live At The Apollo) * 108 Keep Your Eye On The Prize 206 The Symphony (Radio Version) ** feat. Master Ace 207 Droppin' Science (Bonus Beats) ** 109 Marley Intro 5 ^ 208 The Symphony 110 The Symphony feat. Big Daddy Kane, (Marley's Symphony Scratch) ** Craig G., Kool G. Rap, Master Ace 209 Evolution feat. Debbie D, Glamorous, 111 Marley Intro 6 ^ Kool G. Rap, MC Shan, TJ Swan ** 112 Live Motivator 210 Juice Crew All Stars feat. Craig G., feat. Tragedy The Intelligent Hoodlum Glamorous, Kool G. Rap, Tragedy, 113 Marley Intro 7 ^ MC Shan, Roxanne Shanté 114 Duck Alert feat. Craig G. ^ Interlude commentary by Marley Marl, 115 Marley Intro 8 ^ Exclusive to this release 116 Simon Says feat. Master Ace * Live at Apollo Theater, 11.19.1988, Previously Un-Released. 117 Marley Intro 9 ^ ** First Time Available On CD, 118 Freedom feat. M.C. Shan Original 12” Versions. “Rock this at the drop of a dime baby…” It only seems fitting that the man Biz,” among many others. In Control: Volume 1 came together with ease, who pioneered the use of sampling in Hip Hop, solidifying himself as a as Marley had some of the greatest rappers in the world to contribute to his legend early on with such a gigantic innovation in recorded music, would stellar production. -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
Download Funk Keyboards: the Complete Method Free Ebook
FUNK KEYBOARDS: THE COMPLETE METHOD DOWNLOAD FREE BOOK Gail Johnson | 56 pages | 19 Apr 2000 | Hal Leonard Corporation | 9780793598700 | English | Milwaukee, United States Funk Keyboards: The Complete Method--A Contemporary Guide to Chords, Rhythms, and Licks (Book & CD) In that case, we can't Instead, Brown's music was overlaid with Funk Keyboards: The Complete Method, anthemic vocals" Funk Keyboards: The Complete Method on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm- section patterns Favorite new teacher quote -- "You found the only possible wrong answer. Categories : Funk African-American culture African- American music African-American history American styles of music Popular music s in music s in music s fads and trends. Lists with This Book. The jazz books include some funk stuff. Cela fait plus de 30 ans que j ach te des m thodes de musique pour divers instruments et sans conteste celle ci est la meilleure que j ai jamais eu Tout ce qu il faut pour jouer du funk y est, que ce soit les voicings d accords sympas et comment construire pour les 7 9 11 Funk Keyboards: The Complete Method des formes m morisablesFunk Keyboards: The Complete Method travail rythmique, alternance main gauche main droite, les licks et m me un chapitre sur la modulation wheel des synthes Le tout est appliqu sur les diff rents types de claviers funk Rhodes, Cl [ Meanwhile, in Australia and New Zealand, bands playing the pub circuit, such as SupergrooveSkunkhour and the Truthpreserved a more instrumental form of funk.