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Old 06-12-2012, 09:52 AM   #2
Big Smokes
Livin It Up
 
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part 2 b/c its loooooong:

Quote:
one of his "primo" beats he felt was good enough to get out without cats getting "the joke"/ or labeling him a biter was phat kat's "dedication to the suckers"
in which he used primo's "blues formula" theory (deep drums and a shrill noise on the 3. repeat 3 times. bar four change the shrill noise to a louder shrill noise used the first three times. repeat til fade. add scratches in for chorus. bonus points if the words "industry" or "the business of..." in the chorus--and where does primo find them sound bites?!?! lol---jokes..)

it was easier to let that get out without getting noid because primo never rolled like that. primo's theory was the better quality hip hop out there...be it a bitten loop or some crazy original ****....as long as it was RAW? it was all good. cause that helped the game survive. i never once heard of prime screaming on a dealer for playing a record, or him hiding his beat stash so that "dadadada" next door won't know about the difference between the two versions of sly's "small talk" on the marketplace.

now pete?

god bless pete.

pete was jealously passionate about his craft. if it was funky? he HAD to have and stamp it as his first (i mean we already read the whole debacle over "the jazz" on the low end theory) and he earned his stripes as the general of classic beatmaking...but he has earned a rep for his "by any means" method of beats (i don't think de la was too keen on his "flow on" remix for lords of the underground---cause even primo said "rappers shouldn't charge other rappers for samples" and since pete took the main loop of this remix from a de la record....its not like he had to pay for it. so basically he car jacked a loop that de la probably slaved over...got denied...flatlined...and now pete sees the car on the side of the road...takes its parts and somehow got it to the finish line.

(pete took de la's GREATEST beat flip, an unclearable remix for "breakadawn" taken from prince's "the ballad of dorothy parker" and used their flip of "ballad" for his LOTUg remix. what makes it weird is that ---well back when a remix could bring attention to your album---de la never got the benefit and glory of doing an AMAZING beatflip (93 standard--of course in this dilla age of flipping the stakes are higher--but back then? i lost my cotdamn mind when i first heard that ****.) You see...only inside heads knew about this remix. and since 93 was a dangerous time anyway--with gfunk taking the edge and attention away from new york...that cost the "Mindstate" project some major street cred points it needed to sustain itself vs the easily platinum counterpart of midnight marauders.---back when street cred was a funky ass beat. not a beat up concept like "i sell drugs".

or take the whole controversy of the "wha wha wha wha wha wha wha wha wha" part of "psychedelic shack" (not the tempts version but...i forget who) that tribe used on "midnight" and pete used on "the main ingredient" --now who is to say "well since tribe used it first then pete was wrong to use it too"

i dont agree with that.


that is where i DISagree. cause the entire fanbase don't think like beatmakers. so hearing an element of your song in someone else's song to me is just a part of a the game. i mean you forever have the right to say "i released it first"...but for all we know...pete grew up on that record and knew about it before you did....you just happened to get to the finish line first before he did and released it first.


so for you lazy readers just skimming this let me reiterate: this is not a bash one dude to big up the next dude post.

this is meant to explain the mentality of what the beatmaking environment was in my eyes "back in the day".....cats spent ALOT of money buying records. and clearing samples. and fishing for great beats to make the soundtrack of our lives.

so ABOUT THAT DAMN DILLA TAPE!


dilla worshiped pete because pete was worthy of it. i mean pete can set fire to my record room tomorrow and i just MIGHT consider dropping charges cause he made "Soul Brother #1" (say it in chapelle's "he made Thriller" voice)--but

under NO circumstance was i to let pete hear these treats.

"why?" i asked.

he might take it personal. and dilla heard too much from the other varsity team about pete and couldn't risk having his idol brand him "enemy" cause he used one "long red" break too many.

i thought dukes was buggin....i said to myself "if these beats ever got out there...then just maybe beatheads will know what me and 88 already knew from the gate:

dilla was god.


i mean break after break it was killing me to keep this secret: that "mind blowing" joint with v mojica? slum had some AMAZING **** for volume 2 called "Sentimental Love" with these drums that made the kicks in "Get It Together" and "Wordplay" seem like a sober night at the drumset.

and INI's first joint that used the Dorothy Ashby harp break was flipped something terrrrrrrible for Que-D (a fellow mc from the D) that really aint see the light of day.

i mean i heard stupid ****....sheeeit Me and D even took the Dilla flipped Crown Heights Affair "Far Out" that pete used after the "Spaces and Places" interlude on Ingredient and tried to make a jam of it on Voodoo.

i think Dill came out of his confidence shell around Vol 2 time. he had an even bigger Pete dilemma: to "spruce up" (you mean "improve" jay? "naw naw...just--you know..."spruce it up a bit"--so humble that cat) "Once Upon A Time In America". in short. Pete did the beat and it was dope. But cotdamn when Dill "spruced it up".....there was no denying it.

but he would talk himself outta **** over and over and over again.


maybe he should just drop the song altogether and come up with something else so pete wont be offended.


i called hogwash. as im sure other's did too. for it stayed on the album.

i do know the final straw was the creation of what i felt was his greatest pete flip: "little brother" for blackstar.

now normally i thought only i was privy to these treats...but i guess somehow mos and kwe got their hands on that beat (dill's flip of pete's post "in the house" interlude from the Ingredient album)--and they looped the beat from the beat tape.--

i was amazed he let that beat out cause of all those beats? that is the beat he really was on his most "who is the jedi master now??!!" ****.

again...just a humble way to --tap tap tap tap-- "uh hello? im the **** thank you....don't forget it" (exit stage left)

im sure somewhere in archives is the story of how he made that beat and why i consider it to be his greatest flip.

which now leads to kanye (dragnet horns)

the real story is:

kanye was the inspiration for the motown/dill withers series.

after i heard the "dancing machine"/throwup flip i was like....

ok something is up here.

then i heard the "everyone can see your love is real good" and it hit me....

"this beat is too cotdamn intricate for an mc to rhyme over....it would distract from whatever is being said...what is the purpose of putting this batch out of songs and noone can rhyme over em? ---i mean these were put together with genius beyond no other....but what was the real reason THIS batch...more than any other batch is circulated out there more than others? i asked him.

i mean...is this your version of the pete batch for ye? kinda like a nudge like "i see you....but peep this ****"?

he told me that "spaceship" ****ed him up cause for the first time he never heard that interpretation of "distant lover" in his head when he heard "distant lover". kinda ****ed him up a lil.

i was like damn...that sounds like me when i talk about him (dilla). cause lord knows i have those same exact records he had and its always after the fact when i discover "he used this?!!?!?!?!?!?!?!?"

so there could be some speculation going on with that marvel. did that mean he knew he was on his last moments and he just had to make one more message to the world of beatmaking and show them what me and 88 knew all along? was the goal to take some simple very familiar breaks and just do the Will Smith solves rubiks cube challenge in the cab with 2 mins left trick? i mean who in their right mind would spit on something as crazy as "waves" or "glazed" before they became his Donuts?

"you tryna say something to us we don't know man?"

he laughed and shrugged and never answered."
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