|06-21-2005, 07:42 AM||#1|
wow so how the hell can u hate on MEGA? READ THIS!
Damn he is most def one of my absolute favorites, he IS a real dude. He loves hiphop, and he AINT in it for the money...i wish a lot of other rapper was like him. Cant wait for his album... this is pretty long read but WOW this shit dope!
Cormega on Why We Need the Boom-Bap Back
Labels donít care about Hip-Hop culture no more, they care about success and dollars, so everyoneís following a formula rather than being original. First everybody started wearing suits and making those R&B friendly songs. Now people are going too far to the left with it. Itís played out. The producers started using the sped up vocals on their production and MCs even started singing. If thatís the case, we may as well be R&B singers with it. What happened to the knocking bass and the 808ís? And really, what happened to the DJ with scratches and stuff like that? Mike Tyson used to come out to Public Enemy. The s**t thatís out right now donít get you hyped like how that Boom Bap s**t did back in the day. People play Rap for their kids now. There was a time when songs used to come on in the club, and you would just want to fight. It was adrenaline filled. People are scared to make those kinds of records.
That Boom Bap was an era of greatness. It was like watching an NBA All-Star Game. Gilbert Arenus made the team this year. Letís just say you take it back to when Jordan and Bird and Barkley, certain people couldnít be an All-Star during those eras. Jay-Z is able to shine during this age because he has flow. Rap is all about who has the dopest flow right now. Rakim and Kane are from the era when it was about what you were saying. You f**kiní with a Hip-Hop historian. Thatís where the term ďwack MCĒ comes from. You canít say ďwack MCĒ today, because itís all about flow. If you look at flow, Vanilla Ice had a dope f**kiní flow. The record that Pharell produced with Fabolous rappiní on it, he used Vanilla Iceís flow. I know this for a fact because Pharell told me himself. Mase had a dope ass flow. But ďThe MessageĒ by Melle-Mel isnít the record it is because of the flow, it is the record it is because of what he was saying. Nas is one of the last rappers from the say-something era. If I was A&R a Kane or a G Rap, Iíd say, ďdonít follow the formulas of these rappers today, because youíre downsizing yourself. These guys are more accomplished financially. But as far as great artists, theyíve yet to catch up to you guys.Ē
When KRS-One did Return of the Boom Bap, I think he was just trying to bring it back and step it up. At that time, a lot of rappers on the East Coast was going into the Jazz sound. There was a lot of experimentation going on. That smooth G-Funk was dominating too. Also around that time was Black Moon. That is Boom-Bap too! If you look at it nowadays, all the artists that were trying to represent Hip-Hop as an art form arenít getting the love they deserve.
Of course itís the MCís responsibility to keep it Boom-Bap too. A lot of MCís donít have balls. Everybody wants to accommodate the radio. Everybodyís running out to get a Kanye West beat or a Lilí Jon beat because theyíre the hot producer right now rather than using a new producers whose beats are crazy or working producers like DJ Premier and Large Professor whose sound is why we fell in love with Hip-Hop in the first place and now we treat them like theyíre less of a priority. On every album, I show love to a new producer. So far I introduced Sha Money XL, J Love, and Emile to the industry and now theyíre big producers in the Hip-Hop. I didnít chose them because they had a name, but because their s**t was hot.
Right now, weíre extracting all the juice out of Rap. Itís getting to the point where itís so wack, so boring, so predictable that people tend to forget what made Rap what it was. The sped R&B vocals tracks producers are using is played out. When I did that on The Testament, it was the early 90ís. Now Iím trying to get away from all that because itís overused. Iím trying to make music thatís timeless, classic Hip-Hop. Thatís one of the reasons why people are still able to listen to my album The Testament which we just put out in February. It was recorded nearly a decade but it doesnít sound like the typical record you hear today. They all have the same formula. I donít ride with what everyone else is doing.
Rap has been very abusive to its pioneers. I told Large Professor, heís dope Ė Iím definitely going to put him on the album. Heíll look at me like, ďword word?Ē So many people tell him that, but donít do it. Take MC Shan. When we did the QBís Finest album, I told him, ďDonít try to do what we do. Do what you did. Because what you did, made us want to do what we doing. The way you rapped is timeless. Itís not played out.Ē Thatís one of the reasons why I like Soul music because itís classic. Marvin Gayeís album, Whatís Going On, is a classic that you can listen to even a hundred years from now and it still has relevance and meaning.
In a way, when they first introduced the term ďold school,Ē it was cute. It was a fun term. It was a piece of slang that some of the older people used to use. It was actually a term of endearment. But now, itís almost a term of ridicule. Youíll hear a younger dude say, ďOh, he old school.Ē If a throwback jersey comes out, they donít call it an old jersey. Itís vintage, or itís retro. When the old Jordanís come out, they donít look down on those.
When I made The Testament and The True Meaning, it was a debatable topic as to which is better. To have that argument in itself is a compliment to both albums especially because The Testament wasnít released when it should have come out. If it had been, it would have been crazy. Iím just happy itís finally out. Now the challenge is to try and outdo them both on my next solo album, and fill what might have been missing from them and from Rap music at the same time. Whatís missing from Hip-Hop is that Boom-Bap sound.
In 1992, I made a record called ďSex, Drugs, Bitches, and Money.Ē Itís just like Biggieís ďDreams of F**kiní an R&B B*tch.Ē I didnít have an album up, but back in the day that music would circulate. It was a hit record in Queensbridge projects. Grandmaster Vic would make mixtapes in Jamaica, Queens. I was making songs like that. I had a song called ďSet It OffĒ with a group called PHD on Tuff City Records. This album is called Without Warning, and itís out there from 1991.
I know somebodyís gonna try and bite me, but on my next album, Urban Legend, I have a track with PMD, Grand Puba, KRS-One, and Big Daddy Kane. Itís my greatest accomplishment. Itís not even a Boom-Bap record, itís a feel-good record and my way of paying tribute to the MCs who came before me. I didnít ask them to give me 16 bars on any kind of topic, I just told them to be themselves. I also told them how much I appreciate them as artists. Urban Legend is my solo third album coming soon and it's gonna be a challenge to myself. I donít even include The Testament; thatís more of a collectorís album, or Legal Hustle which was a collaborative album. A third album is a defining moment. The one that can make you or break you. A lot of artists only get two or three albums. This one will prove if Iím going to stay or leave. So Iím going hard with it and I gotta bring back that loud Boom Bap s**t. Enjoyable, but loud. I want to f**k up peopleís speakers. I want people to complain. I also want n***as to respect what Iím saying.
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