Monday, April 22, 2013

Radical Revisions & Adaptations



Regardless of the genre of music, artists go through a long painstaking process before releasing a song. However in the genre of hip hop, the pressure to come out with the best product on the market is essential, otherwise you will get flat-out roasted by critics. In addition, artists want to gain as much popularity as possible because ultimately being popular makes more money. As a result, it is not uncommon for artists to either create multiple versions of the song, or create a remix to the song after it has already been released. Overall, I think multiple versions of a song or having remixes helps hip hop because it helps to accomplish three things:

  1.  Help the artist get more opportunities to get noticed or make money
  2.  Helps the hip hop community appeal to wider audiences with different sounds
  3.  Breeds creativity , by adding multiple rappers with different styles, or focusing on one rappers ability to freestyle                                                                                                                                                                              
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As we can see in Ice Cube's original version, the song has more of an aggressive tone. He has a louder voice, and seems to be barking his lyrics instead of letting them flow. Starting with the beat and background sounds, they are more traditional and simple. Check Yo Self was not going to be on Ice Cube's album The Predator originally; however after it was remixed with Grandmaster Flash's The Message it was put back on the album. The new remix was meant to connect with Ice Cube's other hit single It was a Good Day and as result it had to be edited to make for a "friendlier" radio song that could appeal to more audiences. Overall, in the remix you can hear way less aggression in Ice Cube's voice. In addition, the funky beat makes this a smoother song on the ears, and probably appealed to those who grew up listening to music in the 1970's and 1980's. This song was recorded in 1992 and still remains a timeless piece, despite most people not even recognizing that there was a radical revision between the original and remix.

In addition, we also see remixes done with songs that appeal to multiple audiences. In order to appeal to a large range of listeners, artists will include many other notable features on their tracks. Many people can agree that they do not know how the original One More Chance by Biggie Smalls even sounds like. Furthermore, after hearing both songs, you would not even be able to tell they were one in the same without some hints from the chorus.






The biggest difference we can see is that the genre literally almost changed from Rap to R&B. Not only are the lyrics completely different and softer in the revision, but the chorus is emphasized more in the revision. The original version has a phone call intro which was taken out because it would obviously not be appealing on a radio version. In addition you might have a faint idea of who was added on the track, miss Mary J. Blige. In general, the One More Chance Remix helps appeal to more people especially a more female audience. With its smooth flow and melody, and considerably less explicit lyrics, the radical revisions made to One More Chance by Biggie Smalls have made it a better overall hit. Having Biggie on the mic, and Faith Evans and Mary J. Blige on the vocals proved to be a very successful and pleasant sounding collaboration. The remix was able to climb to the #2 spot on the Billboard Hot 100.





       In conclusion, although some people have negative thoughts about some remixes, many people are unaware that most of the greatest hits went through some sort of radical revision. Whether it was released or not is not the point. The bottom line is that remixes help the artist get more popularity, enable them to appeal to a wider audience, and help them make better music for the listeners. Collaborations have been some of the best ways to breed creativity in an adapted song. Overall, radical revisions have not only helped hip hop, but have also helped other genres of music. The success of revisions in the past have sparked a new interest in creating remixes for upcoming present day artists. 


It can get quite annoying as we see present day artists drop more remixes than lil' Boosie drops the soap. *shots fired* Just kidding free Boosie.

   Hope this remix brightens your day:






Work Cited

http://www.youtube.com/watch?v=NMUNwIreUeI

http://www.youtube.com/watch?v=0Ogs_NsXh58

http://www.youtube.com/watch?v=6sS6M_0ITyA

http://www.youtube.com/watch?v=mtiQfiudVDM

http://www.youtube.com/watch?v=DKJsSPATDLY



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Tuesday, April 9, 2013


Nas' Illmatic: A Timeless Album


The first verse of Illmatic’s “Genesis” was first heard back in 1991 on a song from American hip hop group Main Source’s debut album Breaking Atoms. As we know, Nas has been rapping since he was 15, but this was his first verse on record, and we hear it again on the first verse of the first song on the legendary album Illmatic. Nas used this verse to introduce the album because as he wants to show you the artistry he’s created now, he wants you to remember his more humble beginnings, as a feature on a debut album three years prior to the release of Illmatic. The song is conversation between Nas, his brother Jungle, and AZ. Nas’ concluding line in the song is “N****s don’t listen man, representin’, it’s illmatic” (“Genesis”). Nas is foreshadowing for the song “Represent” and shouting out his album’s namesake, which according to Nas means “supreme ill. It’s as ill as ill gets” (XXL Magazine). He describes Illmatic as “a science of everything ill”. 


Back in the early 1990’s, the hip hop scene was dominated by artists including Rakim, KRS-One, LL Cool J and Heavy D. Hip hop was flashy and Nas’ described rappers back then as “characters”, “super stars” and, “bigger than life” (XLL Magazine). With Illmatic, Nas’ goal was to tell a story of whats real and what he had to go through everyday on the block, for the other people in the street. Nas’ purpose was a real album for a real audience because “everything else was so lights, cameras, action, gloss. I had to stand out and be the guy who had the projects behind me. Really the record had to represent everything Nasir Jones is about... That’s what is was about for me, being that kid from the projects, being a poster child for that, that didn’t exist back then” (XXL Magazine). Maybe that’s why Illmatic is such a legendary record; Nas knew he had to make a name for himself and what he stood for, which he did in a timeless way. “When you get a chance to put your words out there it’s that serious” (XXL Magazine).

One of my personal favorite songs on Illmatic is “The World Is Yours”. Nas references his life and the people in Queens, New York and his late friend Ill Will who he eventually named his record label after. Nas labels himself the “young city bandit” and mentions the struggles of street life: “getting tackled/Or caught by the devil’s lasso” (“The World Is Yours”). Nas talks about rapping and selling drugs and in the third verse delves into feelings of loneliness and even depression. Despite the very honest and real recognition of Nas’ problems and struggles, and aspects of the street life, Nas counteracts the storytelling verses with a hopeful chorus that often gets stuck in my head: “Who’s world is this? The world is yours/The world is yours/It’s mine, it’s mine, it’s mine” with such repetition that when you hear it you start to really believe it (“The World Is Yours”). At the end Nas breaks it down for Queens, Uptown, Brooklyn, Mount Vernon, Long Island, Staten Island, South Bronx, and all cities in New York. Even though Nas is talking about his life in the Queens and says “God blesses” to all the people of Queens, he’s really representing all of New York as a whole.


Critic’s Opinion

Shortly after the album was released in 1994, Rolling Stone Magazine critiques Nas’ artistic rendition of his story and where he stands in the game of hip hop. After Illmatic Rolling Stone described Nas as “the MC with a street buzz so loud it’s threatening to silence the Death Row bass thump on Broadway” (Rolling Stone Magazine). Certainly Nas achieved his goal of “standing out” and representing everything he’s about. Another thing that heightened Nas’ buzz DJ Premier, Pete Rock, the Large Professor, Q-Tip, L.E.S, some of the hottest producers in New York finished their portions on Illmatic. This fire production, Nas’ smooth but assertive flow and few hard biting tracks was the recipe of success for Nas. Allthough the album has a mainly laid back flow, the “no-nonsense urban tails pair Illmatic’s every beautiful moment with its harsh antitheses” (Rolling Stone Magazine). These no-nonsense urban tales are the renditions of Nas’ everyday life and the struggles he faces on the streets. The harsh antithesis is that there are always going to be struggles and things that must be overcome. Whether its poverty, drugs, or your homies who are still locked up or even dead, you can guarantee Nas will give you the real story.
Rolling Stone makes it clear, however, that what set Nas apart from his competition when Illmatic was not his story but his skill. “if an MC’s history were really more important than his skills, then anyone from the projects would be able to rhyme like Nas, and Nas would be no different from any bum riding down Broadway” (Foreward) In this case is not what Nas said but how he said it that set him apart. The content is no less important than real, his story is relatable to people from the streets, but still catches the attention of the entire industry. As Common said about Illmatic, “Nas was angry without being frustrated, smart but not preachy, and wise but straight up with you” (Foreward). It was possibly these factors that made Nas’ Illmatic such a good and timeless album that you love to listen to. 

Dyson, Michael Eric, and Sohail Daulatzai. "Foreword." Born to use mics: reading Nas's Illmatic. New York: Basic Civitas Books, 2010. ix, x, xi. Print.
Main Source feat. Nasty Nas. “Main Source - Live At The Barbeque ft. Nasty Nas (HD) (HQ) + Lyrics”. YouTube. Youtube, LLC. 5 Oct. 2011. Web. 9 Apr. 2013
Markman, Rob. "FEATURE: Nas, The Genesis." XXL. N.p., 6 Mar. 2009. Web. 10 Apr. 2013. <http://www.xxlmag.com/news/2009/03/feature-nas-the-genesis/>.

Nas. “Genesis.” Illmatic. Columbia Records, 1994.
Nas. “Nas - The World Is Yours”. YouTube. Youtube, LLC. 11 Sept. 2007. Web. 9 Apr. 2013.
Nas. “The World Is Yours.” Illmatic. Columbia Records, 1994.
Toure. "Illmatic | Album Reviews." Rolling Stone. Jann S. Wenner, 25 Aug. 1994. Web. 10 Apr. 2013. <http://www.rollingstone.com/music/albumreviews/illmatic-19940825>.

Monday, April 8, 2013

Looking at an Album as a Whole: Nas' Illmatic


Let me take you back to 1994. You had Melle Mel, Kurtis Blow, Big Daddy Kane, KRS One, and you even had the Notorious B.I.G. all representing the Tri-State area in hip hop in a big, big way. But then, April of ’94 came and New York City had a new face to represent their rap culture. Gone were the days of dance records that were just trying to get radio play and gone were the popular times of ragga-rapping where quick, whimsical delivery by the rhymesayers wouldn’t allow the audience to comprehend the words (Marshall). In April of 1994 the rap game changed. And this is all because of the release of the debut album coming from Queensbridge’s own, Nas. His album Illmatic, which only sold 330,000 copies in its first year of being released has gone down as easily one of the greatest albums of all time; And in my opinion, the best rap record ever.
            At the time of its release in ’94, the West Coast rap scene had really taken a stranglehold on the emerging genre that was hip-hop. N.W.A was as popular as ever, Tupac was still on top of the game (despite multiple jail sentences at the time), and Snoop Dogg’s trendy debut was brand new. And while there were plenty of other rappers representing the New York City Metropolitan area, Nas truly created a new definition on what rap was becoming. Starting the recording at just the age of eighteen years-old Nas delivered incredible, never before heard, multi-syllabic rhyme-skills that has stood the test of time for almost two decades. His phrases within his tracks such as “Life’s a bitch and then you die;” “I'm an addict for sneakers, twenties of Buddha, and bitches with beepers;” and many others have become cliché amongst the rap community today.  His style is only comparable to that of the rapper who came before him, Rakim, who hailed from Long Island. However, never before had someone painted such an intimate picture of  “the projects.” Queensbridge, which is the largest public housing area in the United States, created his persona of a laid back but also very hardcore Heineken-guzzling, weed-smoking, high school dropout whose poetic justice busted through the darkness of his environment. Check the skills here on the sixth track of the nine song-plus intro- album, Memory Lane:




Only nine songs deep, Nas proves quality is always greater than quantity. 


           It seems as though the cover of the album itself could symbolize the entire essence of Nas’ attitude and life style up until this time. Perhaps a portrait of what a young-street Nas looked like, you get this image of a kid’s no-nonsense face. Potentially implying Nas’ wise understanding of the culture in Queensbridge while only at such a young age. He details what he has seen and accomplished while living there:

        
    “I dropped out Cooley High, gassed up by a coke-head cutie pie/ Jungles survivor fuck whose the live-er/My man put the battery in my back, a difference from Energizer/ Sentence begins indented with formality/ My durations infinite, moneywise or physiology/ Poetry, that’s a part of me, retardedly bop/ I drop the ancient manifested hip-hop straight off the block/ I reminisce on park jams, my man was shot for his sheep coat/ Childhood lesson make me see him in my weed smoke/ It’s real, grew up in the trife life, the time of white lines, the hype vice/ murderous nighttimes and knife fights invite crimes”




            This is only a snippet of one of his many songs on this album that display his immaculate ability to paint with his pen and a pad. To go along with his incredible lyricism, the album was produced by a few of the greatest rap producers of all time including DJ Premier, Pete Rock, and Q-Tip. The combination of said artists made this album one of the most acclaimed of all time and it is still to this day the only album to receive the “5 mic” rating given out by The Source. Nas’ formula of street-school credential lyrics, while displaying a Rakim-like encyclopedic knowledge of rap rhyming, proved to be a timeless success that we hip-hop heads can point to as the quintessential rap album forever. One of my particular favorite references or recollections of the impact of Illmatic to other rappers comes from The Game who states in his song “Hustlers” “Ripped the package of Illmatic and bumped that/For my niggas it was too complex when Nas rhymed/I was the only Compton nigga with a New York State of Mind.”

            Coming from a generation where Eminem was the initial hip hop artist who got my ears broken into the rap industry (born in '92), seeing the impact of Illmatic was more difficult to understand. So for a second, close your eyes and imagine hearing what Nas put out on this record, actually being back in 1994. The breakthrough in overall hip-hop recording simply must have been astounding to hear a brand new sound come from the East Coast that proved superior in all aspects of the genre. Sure, there have been other good accounts of what has transpired in the hood, but never before was there such a pure MC who, when on the mic, had us all laying back with our heads in motion to the rhythm of such beautiful rapping-style poetry. After listening to this album again and again, there is only one thing to say to legend Nas; “The World Is Yours.”


Just for educational purposes......

 

Marshall, Wayne. "Hearing Hip-Hop's Jamaican Accent." Http://depthome.brooklyn.cuny.edu. Brooklyn College, NY Spring 2005. Web. 5 Apr. 2013.

Nas. “Memory Lane.” Illmatic. Columbia, 1994

Nas. “One Time For Your Mind.” Illmatic. Columbia, 1994

The Game. "Hustlers", The Documentary. Interscope, 2005.

MCJOSH313. "Nas -The World Is Yours Uncensored HQ." YouTube, 27 June 2012. Web. 6 Apr. 2013.

Trevor01s. "Nas Illmatic-memory Lane." YouTube, 21 July 2007. Web. 6 Apr. 2013.

Weiss, Jeff. "Nas: Illmatic Music Review." http://pitchfork.com/reviews/albums/17497-illmatic/. Pitchfork, Get On Down 23 Jan 2013. Web. 5 Apr. 2013.

Wednesday, April 3, 2013

Beyond the Words: Production, Tone, Images, Music Video and Format





BEYOND THE WORDS: Production, Tone, Images, Music Video and Format


When hip hop music videos started being shown on MTV in 1989, Run DMC hosted the first episode of Yo! MTV Raps. Run DMC hosted this show in the pilot episode bringing hip hop to a broader audience than its rival television station BET.
Their first video “Rock Box” was the first ever music video to air on MTV and paved the way for other groups. The music video is a mix of hard rock with a rap flow over top of it.
The funky style of this music video and of the group in general made a huge impact on the world of videos especially being the first one shown on national television.
In contrast to the old school flow of “Rock Box”, a more modern example of music portrayed through video is exemplified in Trinidad James’ song “All Gold Everything” he says “gold all in my chain/ gold all in my ring/ gold all in my watch/ don’t believe me just watch”. He wants you to know how incredibly rich he is by showing off his blinged out style. In the music video for this song it goes through the lyrics and shows off his gold chains, rings, watches etc.
He even wears a shirt with the word “RICH” written across it to prove his main point. With cars in the background and his boys flashing cash, he’s clearly trying to show off.
Contrasting to Trinidad James’ braggadocios song about his flashy bling, Kanye West’s song “Made in America” featuring Jay-Z and Frank Ocean gives thanks to those who paved the way for them to be able to make their come up. They thank Martin Luther King and his wife as well as Malcolm X and his wife for their help in the civil rights movement and then they of course thank God, Jesus, Mary and Joseph for the religious support in the hard times they had growing up. The music video doesn’t show the artists like any other video production would, but instead we see Black youth and adults alike in the streets of New York happy and celebrating their freedom and life in America. The importance is placed on these people because these artists on this track were once average citizens just like them but because they had the opportunity to make it big and live the American dream they now sport nice clothes and are criticized by audiences for doing it big.