"King Kunta" like or dislike poll

[RingMan]

I don't like the video but the track is great

[Shallow]

it's pretty dope, but it's not really rap.....more like neo-funk

I wouldn't go that far. Its not traditional 16 bar verses of rapping, but it is still a hip hop beat and he is rapping. He's just pausing more often. If Afrika Bambaataa released Planet Rock today most people would that isn't really rap. And I'm sure there were fans of Afrika from the 70s and that heard Gin and Juice and said its not really rap, or hip hop.

[Sccit]

it's pretty dope, but it's not really rap.....more like neo-funk

 Its not traditional 16 bar verses of rapping, but it is still a hip hop beat and he is rapping. He's just pausing more often.

have u ever heard funk? it's pretty much what u just described

[Shallow]

it's pretty dope, but it's not really rap.....more like neo-funk

 Its not traditional 16 bar verses of rapping, but it is still a hip hop beat and he is rapping. He's just pausing more often.

have u ever heard funk? it's pretty much what u just described

I'm not denying the blatant genre pushing of the album. He's not following the rules of a modern hip hop CD, but its still closer to Hip Hop than anything else. I did describe Funk, but I also described a Afrika Bambaataa track, or I may as well have described Chuck Berry's Too Much Monkey Business, or Bob Dylan's Sub Homesick Blues.

Hip Hop and rap didn't just come out of nowhere as a lyrical style. What made it unique was its use of the turntable as an instrument. Not its use of rhyme paterns. Rap was actually very simple rhyme wise until the mid 80s when Rakim and the like started really pushing it. Dylan and Springsteen were writing much more complex rhymes inthe early 70s and late 60s than Rap was doing in the late 70s and early 80s, and I'll never call Dylan or Springsteen rap music (although Bruce did actually write and record part of a hip hop album in the early 90s, but when he heard himself rapping he decided it would never work and its remains unreleased and unheard). But he used one of the beats for Streets of Philadelphia and Missing from the Crossing Guard.

And in the spoken word soul world Gil Scot Heron and the Last Poets were doing stuff that was just as much rap as the early hip hop records.

But what made rap music and hip hop different as far as sound was the turntable and the actual sampling and mixing.

I could argue that the second hip hop producers stopped sampling and using records to mix and scratch, was the second they stopped truly being hip hop. Its like Rock and Roll. The sound was created by a powerful mix of the piano, the sax, and the electric guitar over an uptempo jazz beat. Then it became just pounding drums and heavy guitars and still wanted to be called Rock and Roll. It wasn't anymore.


So you could argue that based on that Pimp a Butterfly is not a Hip Hop album, but then you'd have to say that neither is Chronic.

[Sccit]

it's pretty dope, but it's not really rap.....more like neo-funk

 Its not traditional 16 bar verses of rapping, but it is still a hip hop beat and he is rapping. He's just pausing more often.

have u ever heard funk? it's pretty much what u just described

I'm not denying the blatant genre pushing of the album. He's not following the rules of a modern hip hop CD, but its still closer to Hip Hop than anything else. I did describe Funk, but I also described a Afrika Bambaataa track, or I may as well have described Chuck Berry's Too Much Monkey Business, or Bob Dylan's Sub Homesick Blues.

Hip Hop and rap didn't just come out of nowhere as a lyrical style. What made it unique was its use of the turntable as an instrument. Not its use of rhyme paterns. Rap was actually very simple rhyme wise until the mid 80s when Rakim and the like started really pushing it. Dylan and Springsteen were writing much more complex rhymes inthe early 70s and late 60s than Rap was doing in the late 70s and early 80s, and I'll never call Dylan or Springsteen rap music (although Bruce did actually write and record part of a hip hop album in the early 90s, but when he heard himself rapping he decided it would never work and its remains unreleased and unheard). But he used one of the beats for Streets of Philadelphia and Missing from the Crossing Guard.

And in the spoken word soul world Gil Scot Heron and the Last Poets were doing stuff that was just as much rap as the early hip hop records.

But what made rap music and hip hop different as far as sound was the turntable and the actual sampling and mixing.

I could argue that the second hip hop producers stopped sampling and using records to mix and scratch, was the second they stopped truly being hip hop. Its like Rock and Roll. The sound was created by a powerful mix of the piano, the sax, and the electric guitar over an uptempo jazz beat. Then it became just pounding drums and heavy guitars and still wanted to be called Rock and Roll. It wasn't anymore.


So you could argue that based on that Pimp a Butterfly is not a Hip Hop album, but then you'd have to say that neither is Chronic.

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

[Desert Lord]

it's pretty dope, but it's not really rap.....more like neo-funk

 Its not traditional 16 bar verses of rapping, but it is still a hip hop beat and he is rapping. He's just pausing more often.

have u ever heard funk? it's pretty much what u just described

I'm not denying the blatant genre pushing of the album. He's not following the rules of a modern hip hop CD, but its still closer to Hip Hop than anything else. I did describe Funk, but I also described a Afrika Bambaataa track, or I may as well have described Chuck Berry's Too Much Monkey Business, or Bob Dylan's Sub Homesick Blues.

Hip Hop and rap didn't just come out of nowhere as a lyrical style. What made it unique was its use of the turntable as an instrument. Not its use of rhyme paterns. Rap was actually very simple rhyme wise until the mid 80s when Rakim and the like started really pushing it. Dylan and Springsteen were writing much more complex rhymes inthe early 70s and late 60s than Rap was doing in the late 70s and early 80s, and I'll never call Dylan or Springsteen rap music (although Bruce did actually write and record part of a hip hop album in the early 90s, but when he heard himself rapping he decided it would never work and its remains unreleased and unheard). But he used one of the beats for Streets of Philadelphia and Missing from the Crossing Guard.

And in the spoken word soul world Gil Scot Heron and the Last Poets were doing stuff that was just as much rap as the early hip hop records.

But what made rap music and hip hop different as far as sound was the turntable and the actual sampling and mixing.

I could argue that the second hip hop producers stopped sampling and using records to mix and scratch, was the second they stopped truly being hip hop. Its like Rock and Roll. The sound was created by a powerful mix of the piano, the sax, and the electric guitar over an uptempo jazz beat. Then it became just pounding drums and heavy guitars and still wanted to be called Rock and Roll. It wasn't anymore.


So you could argue that based on that Pimp a Butterfly is not a Hip Hop album, but then you'd have to say that neither is Chronic.

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

i don't think that he "tryna" do something different, but that he just do what he wanna do...
you heard the whole album already? it got as much jazz influences as it got funk influences..so the neo-funk term don't really fit. i don't think that it could be categorized in any particular genre...it's hiphop influenced by a few other genres imo.

[Sccit]

it's pretty dope, but it's not really rap.....more like neo-funk

 Its not traditional 16 bar verses of rapping, but it is still a hip hop beat and he is rapping. He's just pausing more often.

have u ever heard funk? it's pretty much what u just described

I'm not denying the blatant genre pushing of the album. He's not following the rules of a modern hip hop CD, but its still closer to Hip Hop than anything else. I did describe Funk, but I also described a Afrika Bambaataa track, or I may as well have described Chuck Berry's Too Much Monkey Business, or Bob Dylan's Sub Homesick Blues.

Hip Hop and rap didn't just come out of nowhere as a lyrical style. What made it unique was its use of the turntable as an instrument. Not its use of rhyme paterns. Rap was actually very simple rhyme wise until the mid 80s when Rakim and the like started really pushing it. Dylan and Springsteen were writing much more complex rhymes inthe early 70s and late 60s than Rap was doing in the late 70s and early 80s, and I'll never call Dylan or Springsteen rap music (although Bruce did actually write and record part of a hip hop album in the early 90s, but when he heard himself rapping he decided it would never work and its remains unreleased and unheard). But he used one of the beats for Streets of Philadelphia and Missing from the Crossing Guard.

And in the spoken word soul world Gil Scot Heron and the Last Poets were doing stuff that was just as much rap as the early hip hop records.

But what made rap music and hip hop different as far as sound was the turntable and the actual sampling and mixing.

I could argue that the second hip hop producers stopped sampling and using records to mix and scratch, was the second they stopped truly being hip hop. Its like Rock and Roll. The sound was created by a powerful mix of the piano, the sax, and the electric guitar over an uptempo jazz beat. Then it became just pounding drums and heavy guitars and still wanted to be called Rock and Roll. It wasn't anymore.


So you could argue that based on that Pimp a Butterfly is not a Hip Hop album, but then you'd have to say that neither is Chronic.

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

i don't think that he "tryna" do something different, but that he just do what he wanna do...
you heard the whole album already? it got as much jazz influences as it got funk influences..so the neo-funk term don't really fit. i don't think that it could be categorized in any particular genre...it's hiphop influenced by a few other genres imo.

naah, im jus talkin bout the song in question, not the whole album.

[Hack Wilson - real]

it's a garbage song

[Shallow]

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

Dre was using live bands to cover old songs and then just loop the part he liked. That akes less talent than using a turn table to find the right parts of the records at the right tempo and then loop, mix, and scratch. What Dre was doing musically was not evolution. Not that Dre was the inventor of this new style. It was simply easier to bring in musicians than it was to get the master tapes of the old songs so the tracks wouldn't contain all the other parts of the music the rap producer didn't want.

But it took away from the creativity of the hip hop DJ producer, to find the special parts of obscure records, change the tempos and tones. What Havoc did with Herbie Hancock for Shook Ones was genius. Wht Dre did with Leon Heywood for G Thang was no better than what Puff was doing in the mid 90s.

You could argue what Primo did in the 90s was the evolution of Hip Hop, but not Dre. Dre is a great producer in the sense that he knows how to string together elements and guide them for the purpose of a successful record. Premier was a great producer in the sense that he knew how to create new sounds using old sounds. Dre made hits using unknown songs to the point where the his audience never knew it wasn't original. Hip Hop at its finest is using old songs to the point where it becomes and sounds completely original.

[Sccit]

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

Dre was using live bands to cover old songs and then just loop the part he liked. That akes less talent than using a turn table to find the right parts of the records at the right tempo and then loop, mix, and scratch. What Dre was doing musically was not evolution. Not that Dre was the inventor of this new style. It was simply easier to bring in musicians than it was to get the master tapes of the old songs so the tracks wouldn't contain all the other parts of the music the rap producer didn't want.

But it took away from the creativity of the hip hop DJ producer, to find the special parts of obscure records, change the tempos and tones. What Havoc did with Herbie Hancock for Shook Ones was genius. Wht Dre did with Leon Heywood for G Thang was no better than what Puff was doing in the mid 90s.

You could argue what Primo did in the 90s was the evolution of Hip Hop, but not Dre. Dre is a great producer in the sense that he knows how to string together elements and guide them for the purpose of a successful record. Premier was a great producer in the sense that he knew how to create new sounds using old sounds. Dre made hits using unknown songs to the point where the his audience never knew it wasn't original. Hip Hop at its finest is using old songs to the point where it becomes and sounds completely original.

again, i disagree.....it's harder to recreate a sound than it is to sample it. and thats from experience.

[Shallow]

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

Dre was using live bands to cover old songs and then just loop the part he liked. That akes less talent than using a turn table to find the right parts of the records at the right tempo and then loop, mix, and scratch. What Dre was doing musically was not evolution. Not that Dre was the inventor of this new style. It was simply easier to bring in musicians than it was to get the master tapes of the old songs so the tracks wouldn't contain all the other parts of the music the rap producer didn't want.

But it took away from the creativity of the hip hop DJ producer, to find the special parts of obscure records, change the tempos and tones. What Havoc did with Herbie Hancock for Shook Ones was genius. Wht Dre did with Leon Heywood for G Thang was no better than what Puff was doing in the mid 90s.

You could argue what Primo did in the 90s was the evolution of Hip Hop, but not Dre. Dre is a great producer in the sense that he knows how to string together elements and guide them for the purpose of a successful record. Premier was a great producer in the sense that he knew how to create new sounds using old sounds. Dre made hits using unknown songs to the point where the his audience never knew it wasn't original. Hip Hop at its finest is using old songs to the point where it becomes and sounds completely original.

again, i disagree.....it's harder to recreate a sound than it is to sample it. and thats from experience.

If you're talking about learning to play instruments and then replaying the music in the right key at the right temp, then yes you're right. If you just go up up to a group of serious professional musicians and play them Woman to Woman by Joe Cocker and then tell them to replay the main riff and they do it, then you're wrong.

Dre's not the one re playing the tracks.

[Sccit]

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

Dre was using live bands to cover old songs and then just loop the part he liked. That akes less talent than using a turn table to find the right parts of the records at the right tempo and then loop, mix, and scratch. What Dre was doing musically was not evolution. Not that Dre was the inventor of this new style. It was simply easier to bring in musicians than it was to get the master tapes of the old songs so the tracks wouldn't contain all the other parts of the music the rap producer didn't want.

But it took away from the creativity of the hip hop DJ producer, to find the special parts of obscure records, change the tempos and tones. What Havoc did with Herbie Hancock for Shook Ones was genius. Wht Dre did with Leon Heywood for G Thang was no better than what Puff was doing in the mid 90s.

You could argue what Primo did in the 90s was the evolution of Hip Hop, but not Dre. Dre is a great producer in the sense that he knows how to string together elements and guide them for the purpose of a successful record. Premier was a great producer in the sense that he knew how to create new sounds using old sounds. Dre made hits using unknown songs to the point where the his audience never knew it wasn't original. Hip Hop at its finest is using old songs to the point where it becomes and sounds completely original.

again, i disagree.....it's harder to recreate a sound than it is to sample it. and thats from experience.

If you're talking about learning to play instruments and then replaying the music in the right key at the right temp, then yes you're right. If you just go up up to a group of serious professional musicians and play them Woman to Woman by Joe Cocker and then tell them to replay the main riff and they do it, then you're wrong.

Dre's not the one re playing the tracks.

it's much harder to compose on dre's level than U think

[Shallow]

i duno bout all that....the chronic is what rap evolved into. this is more like him blatantly tryna do somethin different just to be different. we had neo-soul in the early 2000s...and now the neo-funk genre is finally here.

Dre was using live bands to cover old songs and then just loop the part he liked. That akes less talent than using a turn table to find the right parts of the records at the right tempo and then loop, mix, and scratch. What Dre was doing musically was not evolution. Not that Dre was the inventor of this new style. It was simply easier to bring in musicians than it was to get the master tapes of the old songs so the tracks wouldn't contain all the other parts of the music the rap producer didn't want.

But it took away from the creativity of the hip hop DJ producer, to find the special parts of obscure records, change the tempos and tones. What Havoc did with Herbie Hancock for Shook Ones was genius. Wht Dre did with Leon Heywood for G Thang was no better than what Puff was doing in the mid 90s.

You could argue what Primo did in the 90s was the evolution of Hip Hop, but not Dre. Dre is a great producer in the sense that he knows how to string together elements and guide them for the purpose of a successful record. Premier was a great producer in the sense that he knew how to create new sounds using old sounds. Dre made hits using unknown songs to the point where the his audience never knew it wasn't original. Hip Hop at its finest is using old songs to the point where it becomes and sounds completely original.

again, i disagree.....it's harder to recreate a sound than it is to sample it. and thats from experience.

If you're talking about learning to play instruments and then replaying the music in the right key at the right temp, then yes you're right. If you just go up up to a group of serious professional musicians and play them Woman to Woman by Joe Cocker and then tell them to replay the main riff and they do it, then you're wrong.

Dre's not the one re playing the tracks.

it's much harder to compose on dre's level than U think

Produce. Not compose. Dre's not a composer. Even the original stuff was composed by Storch and/or Elizondo. Storch composed the piano on D.R.E. Dre produced it. Dre as a producer shouldn't get any more credit that a movie producer, but you guys want to give him credit like a movie director, and give him cinematography credits too.

He was once great at what he does, but it was not as hard to recreate those old songs as you think. And it was much harder and more creative to do what Havoc did. I'll give Dre his due for getting to the position he's in, but to say wow what a skill set and what a genius is like saying wow Shaq is such a skilled baller when in reality if you take away 5 inches and 50 pounds he may not even make it into the league. Lock Dre in a room by himself with instruments, records, and turntables and he will come out with nothing. As opposed to someone like Quincy Jones who would walk out with a full album of quality.

[TraceOneInfinite Flat Earther 96']

Produce. Not compose. Dre's not a composer. Even the original stuff was composed by Storch and/or Elizondo. Storch composed the piano on D.R.E. Dre produced it. Dre as a producer shouldn't get any more credit that a movie producer, but you guys want to give him credit like a movie director, and give him cinematography credits too.

He was once great at what he does, but it was not as hard to recreate those old songs as you think. And it was much harder and more creative to do what Havoc did. I'll give Dre his due for getting to the position he's in, but to say wow what a skill set and what a genius is like saying wow Shaq is such a skilled baller when in reality if you take away 5 inches and 50 pounds he may not even make it into the league. Lock Dre in a room by himself with instruments, records, and turntables and he will come out with nothing. As opposed to someone like Quincy Jones who would walk out with a full album of quality.

I've been trying to learn more about the actual music making process in regards to the producing side of things, and I never have really been able to find much information.

But that said, there is one argument that always seems to hold true in Dre's favor.  Like when those Death Row disses first started to come out and Daz was claiming credit and all these other "ghost producers" at the Row, Dre used to reply smugly that, "If they are supposedly the ones who were really doing it, then let's see them do it without me".   And still, nobody has ever been able to sound as dope without Dre around.

For whatever reason, from the days of Wrecking Cru up until today, if Dre is there shit always comes out hotter.  So obviously, there is something that he does better than anyone else in the room, and without him it can't be done.

[Shallow]

Produce. Not compose. Dre's not a composer. Even the original stuff was composed by Storch and/or Elizondo. Storch composed the piano on D.R.E. Dre produced it. Dre as a producer shouldn't get any more credit that a movie producer, but you guys want to give him credit like a movie director, and give him cinematography credits too.

He was once great at what he does, but it was not as hard to recreate those old songs as you think. And it was much harder and more creative to do what Havoc did. I'll give Dre his due for getting to the position he's in, but to say wow what a skill set and what a genius is like saying wow Shaq is such a skilled baller when in reality if you take away 5 inches and 50 pounds he may not even make it into the league. Lock Dre in a room by himself with instruments, records, and turntables and he will come out with nothing. As opposed to someone like Quincy Jones who would walk out with a full album of quality.

I've been trying to learn more about the actual music making process in regards to the producing side of things, and I never have really been able to find much information.

But that said, there is one argument that always seems to hold true in Dre's favor.  Like when those Death Row disses first started to come out and Daz was claiming credit and all these other "ghost producers" at the Row, Dre used to reply smugly that, "If they are supposedly the ones who were really doing it, then let's see them do it without me".   And still, nobody has ever been able to sound as dope without Dre around.

For whatever reason, from the days of Wrecking Cru up until today, if Dre is there shit always comes out hotter.  So obviously, there is something that he does better than anyone else in the room, and without him it can't be done.

I'm not discrediting him completely. He's like Phil Jackson. Jordan and Kobe never won without Phil, but Phil never won without Jordan or Kobe either. Calling Dre a great composer is like giving Phil credit for a great fade-away. You can coach the play and call it to set up a great fade away, but only a hand ful of players can consistently make the shot to win a game.