Who was melody oriented than A tribe called quest
WAS TRIBE A STAPLE EAST COAST SOUND OR AN OUTLIER?
CMON NOW
To this day, I'm the ONLY person to say "Big Papa" by Biggie was blatantly biting west coast sound.
- Thread starter Ethnic Vagina Finder
- Start date
WAS TRIBE A STAPLE EAST COAST SOUND OR AN OUTLIER?
CMON NOW
K.O.N.Y
Superstar
The east was utilizing both boom bap and melody. Sometimes interchangeably on the same albums
MELODY WASNT AN EAST COAST STAPLE
JUST LIKE WEST COAST WAS UTILIZING BOOM BAP BUT IT WASNT OUR STAPLE
CATS REALLY TRYNA REWRITE HISTORY LOL
IllmaticDelta
Veteran
funky worm was played on a keyboard/synthesizer in the ohio players song.
Even tho those rules u posted dont even say that shyt. U stay jumping all over the place.
nah, Im 100% consistent on what g-funk is
But what do I expect from the guy who said that Puerto Ricans in the 70s had to ask Black people for permission to sneak out at night and tag on trains.
I said permission to be involved in hiphop, not the graff that came before hiphop was a thing
That funky worm
such classics shyt. this is part of the backbone of west coast music. those brehs in the 80s and 90s took the sound and made classics out of it.
funky worm was played on a keyboard/synthesizer in the ohio players song.
nah, Im 100% consistent on what g-funk is
I said permission to be involved in hiphop, not the graff that came before hiphop was a thing
DUDE BEEN SONNED UP N DOWN THIS THREAD
I ETHERED HIM SO HARD HE DECIDED TO NEG ME
THE ULTIMATE VICTORY
funky worm was played on a keyboard/synthesizer in the ohio players song.
So then what about Planet Rock? Does it not also fall into that same category u been stressing is the definition of G Funk with the synthesizer whistles.
@00:45
"live instrumentation, heavy on bass and keyboards, with minimal (sometimes no) sampling and often highly conventional harmonic progressions and harmonies".
This was 82 by the way.
No u didn't. I have the quote right here.
I'll never forget this bullshyt u tried to pass off as facts...I'm on Gun Hill Rd this very second and those Black Spades stay all over White Plains Rd. The only conclusion I came to after u said this bullshyt was that u are just a book nerd who never really was out there like that. Had my OG Rican homie in that same exact thread looking at u like u were stupid.
So what the G funk sound is just parliament records which is detroit lmao, so the west coast sound was really the midwest, whihc is why chicago rappers like twistas had those same snyths in their beats
IllmaticDelta
Veteran
planet rock is more electro-hop similar to what Dre was going before NWA than anything g-funk
No u didn't. I have the quote right here.
correct. Hiphop...the music/dance culture
don't listen to me, let the ricans who who were there tell you the real 100% facts
and
early 80's as the point when more latinos came in has been confirmed by Cholly Rock
and Beaver
2010 video from mr wiggles on him
2011 board post asking about Beaver
WHERE IS BEAVER .. ORIGINAL BBOY FROM THE 1970'S
2017 video below
^^cholly rock, closer to 2nd generation talks about him above
actual Beaver interview from 2018 where he flat out says Ricans started coming more into Bboying by the early 80's right when he retired.
Beaver (The Little Zulu Kings)
Castles In The Sky
they're mainly repeating what was going in hiphop by the time the early 80's arrived and then 1980's myths on hiphop history. Plus there was ameeting Between Zulu Nation and some of these Rican crew because the Rican crews wanted to know how they could be down with the bubbling hiphop culture
read below
SIR NORIN RAD:"Willie Will (legendary Puerto Rican B-Boy from Rockwell Association) told me about how we was introduced to that original Black B-Boy Style of dancing which you referred to as The Go Off in 1976 by a B-Boy called Chopper that was down with the Zulu Nation. What was the relationship between TBB and the Zulu Nation? Was there any kind of contact at all?"
ABY:"Again, I was younger. I was too young to even understand the difference between Black and Puerto Rican. But to my brothers...to the older guys there was a barrier....there was a line between Blacks and Latinos. I mean look at the gangs back then...the Black Spades were all black and then you had the Ghetto Brothers which were all Latinos....so there was a division at first. I remember the Zulu Kings only from late 1976/77 that's when we really got involved. That's also when Batch had his meeting with the Zulu Nation..1977. TBB and members of the Zulu Nation they used to have rumbles.....they would fight against each other. Whatever jam they went to they would rumble. If there was a jam and TBB was chilling there and all of a sudden some one threw hands Batch would summon TBB Joe's division who was known as the warlord division meaning thay handled all the rumbles or one on one fight make sure no one jumped in !! . One of the first black DJs that I ever met was Lay Lay. He was from Fun PM City Crew and they was all black but they was kool cause they were from the block.We never had problems in 129 Mapes Pool. Lay Lay would get cutting and we would start dancing !! Back then we danced more with the girls than against each other .. But when we heard "It's Just Begun" or Babe Ruth "Mexican" or "Bongo Rock"... forget about it! Floor rockers hit the flooooorrrrrrr,!!! Cypher set and battles was for respect not money .. You had to be there to truly understand and smell the air and feel the excitement when the cat you was battling burned you the last time and you been practicing all week long for the moment you let it all out on the concrete ... Damn miss em days ."
DJ Lay Lay & The Fun City Crew rocking with The L-Brothers and The Mercedes Ladies in 1979
SIR NORIN RAD:"So you're saying there was a lot of tension between TBB and members the Zulu Nation?"
ABY:"There was! There was a lot of tension out there."
SIR NORIN RAD:"And all that beef was squashed at that meeting?"
ABY:"Batch had his meeting with Bam at the Webster projects on Zulu Nation turf in 1977. After that meeting they squashed it. I don't know how come Bam never spoke of this because it's such an important part of the history. It identifies with unity between Latinos and Blacks. So I don't know why he never acknowledged it."
Castles In The Sky
so, Rock steady crew is the one group that really put Ricans into the mix (1980s) but before that, you had the TBB Crew in the late 70's that first tried to get Ricans into the mix through Bambaatta.
take your dumb cac ass back to sports thread, you don't know shyt about music, ice cube rapped on the same beast as grand master flash, eastcoast was always about melodies, from white lines, to TROY, paid in full, which another west coast artist tupac used the same beat lmao
IllmaticDelta
Veteran
G-Funk/west coast hiphop used synthesized funk from all over. It just so happened to be that the biggest influences came from P-Funk, Zapp and Roger, and Ohio Players.
Repost
NY always sampled funk...they just stuck mostly with drum break funk
while the west coast was more into synthy/heavy bassline funk
Hip Hop And Funk.. Bay Area Style
Folks may recall how rappers brought artists like James Brown and Donald Byrd back into the forefront of Black music during the mid 80s when their music was freely sampled in every which way, shape and form by literally hordes of artists. Back then folks may recall the commonly expressed sentiment that many ascribed too.."
if it wasn't for the rap artists James Brown would be unknown to the younger generation
." And to a large degree there was a lot of truth in that statement, after all, at that time Black radio wasn't aggressively promoting a format in which they would highlight "classic" artists like Brown while maintaining their appeal to younger listeners... The result was many young white listeners being able tell you all about pop icons like the Beatles and Elvis while artists like Brown were relatively unknown to the young Black listener, at least until hip hop came along. It"s important to note all this because another facet about hip hop is that it allowed folks and still allows folks to build upon their musical past... The Brown sampling phenomenom in the mid-late 80s was the result of younger people reflecting their musical past. Most of the artist putting out records at this time were from New York and James Brown was not only an artist that mom and dad grooved to, but it was an artist that their older brothers and sisters grooved to in the late 70s when block parties were common place and hip hop was still in its embryo stages... The break beats that could be found within the grooves of James Brown records were the sounds that really set off these early hip hop jams.
So what does all this have to do with p-funk and its relationship to hip hop? Well one of the great things about hip hop is that it has always been an easily accessible form of expression with each participant being able to bring into the fold their own experiences and musical background So while brothers back east during the late 80s were building off their musical experiences involving James Brown and hip hop culture dating back to the late 70s, brothers out west who were just starting to release hip hop records were bringing a whole other set of musical experiences to the table.
Much of it centered around artists like George Clinton, Bootsy Collins George Duke and Roger & Zapp to name a few. Simply put, brothers out west brought p-funk to the hip hop round table. Now upon reading this there are a lot of folks who are immediately gonna reach back into time and point to the p-funk style hip hop music of EPMD, especially since they dropped the '88 classic tune "You Gots To Chill" which looped the now infamous "More Bounce To The Ounce" beat. Many rap fans consider this jam to be the first record to incorporate a p-funk. sample. In addition, these same rap fans may be quick to point out that cuts like "Knee Deep" and "More Bounce To The Ounce" were staple items in a b-boy's record crates. Back in the days, many a dj cut up these tracks while an emcee flowed. And while it's safe to say that Erik & Parrish earned their spot in the history books with "You Gots To Chill", they weren't the first to utilize music from the p-funk treasure chests... In addition, EPMD's usage didn't reflect the special relation and love the San Francisco / Oakland Bay Area had for funk.
Ricky Vincent better known as the Uhuru Maggot is a Bay Area music historian who earned his stripes during the 80s for his radio work on KALX, UC Berkeley's college station... and can now be heard every Friday on KPFA 94.1 FM... Vincent has not only chronolized funk music through his History Of Funk radio shows, but he has written his doctorate thesis on the genre..and has now just penned a book for St Martin's Press with an intro from George Clinton himself. This work will undoubtly be a definitive and comprehensive work on this facet of Black music... In a recent interview where Vincent was asked about the Bay Area's love for funk and its relationship to hip hop, he broke things down and explained that there has always been a deep seeded love affair with -funk ..He noted that George Clinton has always claimed there was something 'heavy' about the Bay Area funkateers.. Vincent noted that so involved was that relationship that Clinton recorded part of his live album "P-Funk Earth Tour" right here at the Oakland Coliseum.
Black music radio stations.
Afrika Bambaataa
once noted that hip hop was the result of Black music radio not keeping funk alive in New York City... Author Nelson George confirmed that statement in his book the 'Death Of Rhythm & Blues' in which he spoke about Black radio stations diluting the music from the hood with some other stuff that was ultimately designed to appeal to a downtown, hipper, more affluential, [whiter audience] and not the young black and Puerto Rican audience that listened to a radio more than any other ethnic group. By the mid 70s Black music radio in New York wasn't kicking a lot of music across the airwaves that was hitting on point in other parts of the country.. In the late 70s I recall a whole lot of disco songs being played... Brothers from around the way were doing block parties and playing old James Brown, Sly Stone and break beats...while outside New York in places as close as New Haven Connecticutt, brothers were jamming to groups like Fat Larry's Band, The Barkays and Mass Production... For example, I recall hearing jams like 'Fire Cracker' by Mass Production outside the Big Apple, but never really hearing too much if at all within the city's five boroughs... Mean while in places like the Bay Area where hip hop had not really surfaced the grooves put out by these types of groups were the ' phat buttahs ' of the day.
Hip Hop And Funk
G funk died when it ran out of p funk records to sample
there is was never no west coast sound, it was always a midwest sound,
nwa music wasn't like any of that shyt, too day was good day was a regular boom bap beat lmao
check yourself before your wreck yourself was the same beat as grand master flash not even the same sample the same exact beat
etc
there was never no west coast sound, dr dre sample parliament the same way puffy sample 80's hits for his shiny suit era sound
that's it
the real west coast sound is the bay area, they had a sound consistent from the beginning and it is still here till this day, LA never had a sound
planet rock is more electro-hop similar to what Dre was going before NWA than anything g-funk
Of course it was what Dre was doing before NWA.....Thats the influence right there. Listen to "Panic Zone." This old sounding shyt dropped in 89 (tho I know it was probably put together in 87) and sounds like some Afrikka Bambatta wannabe bullshyt.
But your "specific" definition by the description of G Funk does fall into that same category..And u know it. U just fronting now because u never admit when wrong.
That was also the same album that had Dre sampling Whodini.