[jariel]

Pretty cool article from Grantland:

http://grantland.com/hollywood-prospectu...ars-later/

Here are a few questions:

[Cr33pin]

Dope remix thats been in constant rotation in my car.

[Malekhit]

Dear diary.
First time in my life I've heard "juicy" today.
Today was a good day.

[Giovonny]

[Fortis]

I met James Mtume before. He's good friends with a friend of mine. He's a cool dude. Like one of those bad ass old dudes that definitely has game in spades. Isn't juicy one of the most sampled songs in history? James must be rolling in dough.

[LeBeau]

There's a blog that has a lot of classic hip hop represented in graphs and pie charts and stuff that's pretty funny, I can't remember the link.

For example, a pie chart of "People to Fuck Wit" and then a smaller circle to the side for "Wu Tang Clan" showing that it's not included in the sample.

[Atlantic]

Quote:

Warren G. and Nate Dogg's "Regulate" synopsis on Wikipedia
Friday, July 30, 2010


On a cool, clear night (typical to Southern California) Warren G travels through his neighborhood, searching for women with whom he might initiate sexual intercourse. He has chosen to engage in this pursuit alone.

Nate Dogg, having just arrived in Long Beach, seeks Warren. Ironically, Nate passes a car full of women who are excited to see him. He insists to the women that there is no cause for excitement.

Warren makes a left at 21st Street and Lewis Ave, where he sees a group of young men enjoying a game of dice together. He parks his car and greets them. He is excited to find people to play with, but to his chagrin, he discovers they intend to relieve him of his material possessions. Once the hopeful thieves reveal their firearms, Warren realizes he is in a considerable predicament.

Meanwhile, Nate passes the women, as they are low on his list of priorities. His primary concern is locating Warren. After curtly casting away the strumpets (whose interest in Nate was such that they crashed their automobile), he serendipitously stumbles upon his friend, Warren G, being held up by the young miscreants.

Warren, unaware that Nate is surreptitiously observing the scene unfold, is in disbelief that he's being robbed. The perpetrators have taken jewelry and a name brand designer watch from Warren, who is so incredulous that he asks what else the robbers intend to steal. This is most likely a rhetorical question.

Observing these unfortunate proceedings, Nate realizes that he may have to use his firearm to deliver his friend from harm.

The tension crescendos as the robbers point their guns to Warren's head. Warren senses the gravity of his situation. He cannot believe the events unfolding could happen in his own neighborhood. As he imagines himself escaping in a surreal fashion, he catches a glimpse of his friend, Nate.


Nate has seventeen cartridges (sixteen residing in the pistol's magazine, with a solitary round placed in the chamber and ready to be fired) to expend on the group of robbers. Afterward, he generously shares the credit for neutralizing the situation with Warren, though it is clear that Nate did all of the difficult work. Putting congratulations aside, Nate quickly reminds himself that he has committed multiple homicides to save Warren before letting his friend know that there are females nearby if he wishes to fornicate with them.

Warren recalls that it was the promise of copulation that coaxed him away from his previous activities, and is thankful that Nate knows a way to satisfy these urges. Nate quickly finds the women who earlier crashed their car on Nate's account. He remarks to one that he is fond of her physical appeal. The woman, impressed by Nate's singing ability, asks that he and Warren allow her and her friends to share transportation. Soon, both friends are driving with automobiles full of women to the East Side Motel, presumably to consummate their flirtation in an orgy.

The third verse is more expository, with Warren and Nate explaining their G Funk musical style. Warren displays his bravado by daring anyone to approach the style. There follows a brief discussion of the genre's musicological features, with special care taken to point out that in said milieu the rhythm is not in fact the rhythm, as one might assume, but actually the bass. Similarly the bass serves a purpose closer to that which the treble would in more traditional musical forms. Nate displays his bravado by claiming that individuals with equivalent knowledge could not even attempt to approach his level of lyrical mastery. Nate goes on to note that if any third party smokes as he does, they would find themselves in a state of intoxication almost daily (from Nate's other works, it can be inferred that the substance referenced is marijuana). Nate concludes his delineation of the night by issuing a threat to "busters," suggesting that he and Warren will further "regulate" any potential incidents in the future (presumably by engaging their antagonists with small arms fire).

[Mongo]

Classic hip hop really is a wonderful thing. Anytime you can read a step-by-step breakdown of G-Funk era lyrics, it's a great day.

[AboveAverageJoe]

Epic white-boy funk, sampled for Warren G's regulate.

While many think that James Brown's funky drummer is the most sampled track ever, it is believe it or not, , is Beside’s ‘Change The Beat’. Released on ultra-eclectic label Celluloid in 1982, the Francophone-friendly Fab 5 Freddy B-side appears in mutilated form on Herbie Hancock’s ‘Rockit’, Eric B & Rakim’s ‘Paid In Full’, Doug E. Fresh’s ‘The Show’, and at least 1,265 other songs.

[AboveAverageJoe]

Nearly all popular pop songs use the same 4 chord I V vi IV progression as is demonstrated by the axis of awesome.
Something about that progression just pulls at the humans heart strings in an almost primal way. The tension of the first fourth and fifth major chords juxtaposed against the minor sixth just makes for a very compelling musical backdrop.
Chech out the axis of awesome:

They don't include Bob Marleys' One Love, or No Woman No Cry which also uses the same progressions.

[Cr33pin]

[DJ-Matt]

(09-27-2016 10:30 AM)AboveAverageJoe Wrote:  

Epic white-boy funk, sampled for Warren G's regulate.



While many think that James Brown's funky drummer is the most sampled track ever, it is believe it or not, , is Beside’s ‘Change The Beat’. Released on ultra-eclectic label Celluloid in 1982, the Francophone-friendly Fab 5 Freddy B-side appears in mutilated form on Herbie Hancock’s ‘Rockit’, Eric B & Rakim’s ‘Paid In Full’, Doug E. Fresh’s ‘The Show’, and at least 1,265 other songs.

I thought the most sampled bit was the drum break from "Amen Brother" B-Side to the Winston's 1972 hit "Color Him Father" of which I own the 45:

[AboveAverageJoe]

(09-27-2016 11:20 AM)DJ-Matt Wrote:  

(09-27-2016 10:30 AM)AboveAverageJoe Wrote:  

Epic white-boy funk, sampled for Warren G's regulate.



While many think that James Brown's funky drummer is the most sampled track ever, it is believe it or not, , is Beside’s ‘Change The Beat’. Released on ultra-eclectic label Celluloid in 1982, the Francophone-friendly Fab 5 Freddy B-side appears in mutilated form on Herbie Hancock’s ‘Rockit’, Eric B & Rakim’s ‘Paid In Full’, Doug E. Fresh’s ‘The Show’, and at least 1,265 other songs.

I thought the most sampled bit was the drum break from "Amen Brother" B-Side to the Winston's 1972 hit "Color Him Father" of which I own the 45:

They are very close, as that break is the basis of jungle/bas-n-drum music. I think it is hard to say as many of the songs sampling "Change the Beat" were more widely distibuted and heard, whereas most of the songs sampling the latter were more underground releases or just not widely received outside of the genre.

Much like the drum beat from Shabba Ranks 1990 song (not a hit) Dem Bow. It is the basis for nearly every Reggaeton song ever made which should make it the most sampled beat ever.

I think it depends on who you ask, I am not claiming to know without a doubt who's song is actually the most sampled.

The Neville Brother's Funk Band The Meters also have had an extraordinary amount of their songs sampled in Hip-Hop and R&B. I think many of these groups are all very close and it is hard to say since obviously not all samples were cleared or received heavy rotation.

I did find this but who knows how accurate it is:

[DamienCasanova]

(09-27-2016 10:41 AM)AboveAverageJoe Wrote:  

Nearly all popular pop songs use the same 4 chord I V vi IV progression as is demonstrated by the axis of awesome.
Something about that progression just pulls at the humans heart strings in an almost primal way. The tension of the first fourth and fifth major chords juxtaposed against the minor sixth just makes for a very compelling musical backdrop.
Chech out the axis of awesome:

They don't include Bob Marleys' One Love, or No Woman No Cry which also uses the same progressions.

Very true, and they do briefly mention No Woman No Cry as well

[eatthishomie]

Only one I didn't know was 7

[GoldHawkStar]

This song used to be my shit back in high school. Weird that I just listened to it today for the first time in a while.

To answer OP's picture quiz:

A
D
B
B

Best track by Biggie.

[Pride male]

Didnt get the one about quality birthdays. Shouldnt it be 3 not 4 because birthdays were the worse days?

[TravelerKai]

(09-27-2016 01:28 PM)AboveAverageJoe Wrote:  

(09-27-2016 11:20 AM)DJ-Matt Wrote:  

(09-27-2016 10:30 AM)AboveAverageJoe Wrote:  

Epic white-boy funk, sampled for Warren G's regulate.



While many think that James Brown's funky drummer is the most sampled track ever, it is believe it or not, , is Beside’s ‘Change The Beat’. Released on ultra-eclectic label Celluloid in 1982, the Francophone-friendly Fab 5 Freddy B-side appears in mutilated form on Herbie Hancock’s ‘Rockit’, Eric B & Rakim’s ‘Paid In Full’, Doug E. Fresh’s ‘The Show’, and at least 1,265 other songs.

I thought the most sampled bit was the drum break from "Amen Brother" B-Side to the Winston's 1972 hit "Color Him Father" of which I own the 45:

They are very close, as that break is the basis of jungle/bas-n-drum music. I think it is hard to say as many of the songs sampling "Change the Beat" were more widely distibuted and heard, whereas most of the songs sampling the latter were more underground releases or just not widely received outside of the genre.

Much like the drum beat from Shabba Ranks 1990 song (not a hit) Dem Bow. It is the basis for nearly every Reggaeton song ever made which should make it the most sampled beat ever.

I think it depends on who you ask, I am not claiming to know without a doubt who's song is actually the most sampled.

The Neville Brother's Funk Band The Meters also have had an extraordinary amount of their songs sampled in Hip-Hop and R&B. I think many of these groups are all very close and it is hard to say since obviously not all samples were cleared or received heavy rotation.

I did find this but who knows how accurate it is:

That same Wintons drum breakbeat was sampled to death in early hiphop as well. It formed a base for way more things than just Jungle/DnB.

I have not be able to find a drum pattern older than the Winston's that sounds just like it, but I agree with you that music history (on the nuts and bolts of stuff like this) is hard to study, and is outside of my area of expertise as a historian. I remember doing an investigation to figure out who the first metal band was, or who first generated actual "metal sound" and how did the sound originate, and quit out of sheer frustration. It's really not as straight forward as it looks and quite a few genres are like this.

Also, The Winston's song Amen Brother was ca.1969, not 1972.

[Matt3B]

(09-27-2016 11:02 AM)Cr33pin Wrote:  

Woody does some good remixes of his. Check out Machine Gun Funk.