La SP 1200 funziona a meraviglia. da qualche giorno sono in stato di profonda concentrazione, l’attenzione focalizzata sulla macchina. Sto leggendo il manuale dell’utente ed alcune FAQ con voracita’ e si sta aprendo un ampio orizzonte davanti a me. Questa macchina non e’ affatto obsoleta pur avendo 15 anni di vita (in realta’ il modello risale al 1987, quindi come concezione ha piu’ di 20 anni). La mia amica Gnapgirl (da anni un utente mac) ieri sera era incredula quando le ho detto che spendendo la stessa cifra avrei potuto comprare un laptop macintosh nuovo. Il fatto è che a me non interessa il mac: questa macchina è concepita appositamente per le parti di batteria e non si puo’ paragonare ad un laptop, pur essendo anch’essa un computer. I filtri analogici integrati nella SP hanno un suono che non si puo’ riprodurre fedelmente con nessun’altra macchina, non voglio sminuire le funzionalita’ e/o la versatilita’ dei computer Apple, sto soltanto dicendo che se vuoi quel particolare suono devi usare quella macchina. Inoltre la macchina ha un altro pregio: e’ molto facile da usare e se hai un minimo di senso del ritmo puoi riuscire a creare delle parti di batteria molto velocemente. La SP 1200 ha anche vari collegamenti esterni per la sincronizzazione via midi e non (smpte eccetera). Ed e’ anche molto divertente da usare.
E-Mu SP 1200 (clicca per ingrandire)
Qui di seguito ho inserito vari collegamenti interessanti a proposito della E-Mu SP 1200:
Finalmente dopo più di un mese e mezzo di attesa e agonia mi è arrivata a casa la leggendaria drumachine/sampler E-Mu SP 1200 modello 7030 seconda edizione con il chip SSM2044 (filtri analogici originali).
La ho già installata nel mio studio e sembra che reagisca bene. Oggi pomeriggio ho passato 4 ore a provare la macchina e sembra che risponda bene a tutti i comandi, gli slider funzionano bene, ma alcune pad hanno un po’ di problemi dovuti all’accumulo di polvere al di sotto del tasto stesso dove c’è il contatto elettrico, problema che credo di poter risolvere senza l’aiuto di tecnici eccetera. Per il resto la macchina funziona a meraviglia. Dei dischi floppy che dovevano arrivarmi insieme alla macchina (contenenti i suoni di tamburo e altri sample) ne è arrivato uno solo con il sistema operativo della macchina ed alcuni suoni di grancassa, rullante basso e fiati.
Sembra che i floppy disk vergini non siano molto facili da reperire, ho dovuto chiedere in tre negozi prima di trovarli. Meglio farsi una scorta prima di rimanere senza.
Kybeats, a professional user from S.Jersey writes:
I got the SP 1200 fever…to own this machine is to love it….It only
has 10 sec sampling time…old school interface….nothing fancy
…"BUT" what this thing does to drums is rediculous….Just look at
the front of it…SP 1200 "sampling procussion"….What more can I
say….a word of caution…if you use it you will become addicted….I
haven’t used mine in months but the last few days I’ve been going
bananas……I love it…..I own or have owned all the MPC’s that Akai
makes….Its not about whats better SP vs. MPC….its about the
sound….besides, these guys play well together…..If you get a chance
to get on do it…..but these machines are becoming extremely "Rare"
and to get one in great shape will cost you….other then that…I’ll
keep mine for ever……its just that SP fever…..
Ski – Hip Hop Producer Produced for artists such as Jay-Z,Camp Lo etc.
The strength of the SP was definitely the way the 12-bit sounded
when you threw the sample or the snare or the kick in there—it just
sounded so dirty. It was a definite, definite fucking plus with the
machine. The limited sampling time made you become more creative.
That’s how a lot of producers learned how to chop the samples: We
didn’t have no time, so we had to figure out ways to stretch the sounds
and make it all mesh together. We basically made musical collages just
by chopping little bits and notes.Ski– People said they never saw anyone work the SP as fast as me and Large Professor— not that it means anything. It’s crazy. I can’t explain it—it’s like the shit is programmed in my brain. I worked with Jay-Z and did all of Reasonable Doubt on the SP-1200. For "Dead Presidents," everything was made on the SP, man: the whole sequence, the drum sounds, the Nas sample. The only thing that wasn’t done on the SP was the sample, [but] I ran it through it to give it that sound.
There’s little tricks that were developed on it. For example, you
got 12 seconds [10.07, according to the manufacturer] of sample time to
divide amongst eight pads. So depending on how much you use on each
pad, you decrease the amount of sample time that you have. You take a
33 1/3 record and play it on 45, and you cheat the system. [Another]
aspect that we created is out of a mistake—one day I was playing "Black
Steel in the Hour of Chaos" and it came out real muffled. I couldn’t
hear any of the high-end part of it. I found out that if you put the
phono or quarter-inch jack halfway in, it filters the high frequency.
Now I just got the bass part of the sample. I was like, "Oh, shit, this
is the craziest thing on the planet!"Hank Shocklee
They’ve mastered the computer to the point it does things the SP 1200
can’t do. [But] we would have better records today if people said,
"Look, you’ve got five hours to make a record." The problem is that
people got all day. They got all week. They got all month. They got all
year. So thus, you in there second-guessing yourself. With the 1200,
you can’t second-guess yourself, man. You got 2.5 seconds a pad, man. .
. . Till this day, nobody has understood and created a machine that can
best it.
Lord Finesse – East Coast Rapper/ Producer member of East Coast Hip Hop group DITC
They had me as a special guest on Stretch and Bobbito, one of the
popular radio shows of the ’90s. I thought it would be slick if I
brought my 1200 down. A lot of producers did total beats with their
1200, and I think I did two or three, and one specifically was when I
chopped up Marvin Gaye’s "Let’s Get It On." I chopped all around his
voice using the 1200 and put an instrumental in the back. I played it
over the air, and me and KRS-One freestyled over it. It was real slick.
Everything that you ever heard from me back in the day was the
SP 1200. That machine made "Reminisce" "They Reminisce Over You
(T.R.O.Y.)", "Straighten It Out," "Shut ‘Em Down," "Jump Around." When
I made "Reminisce"—I had friend of mine that passed away, and it was a
shock to the community. I was kind of depressed when I made it. And to
this day, I can’t believe I made it through, the way I was feeling. I
guess it was for my boy. When I found the record by Tom Scott,
basically I just heard something incredible that touched me and made me
cry. It had such a beautiful bassline, and I started with that first. I
found some other sounds and then heard some sax in there and used that.
Next thing you know, I have a beautiful beat made. When I mixed the
song down, I had Charlie Brown from Leaders of the New School in the session with me, and we all just started crying. An End of an Era. I used the MPC [a technologically superior sampler line first introduced in 1988] on Soul Survivor II.
That was kind of the beginning of using it. I thought it had a thinner
sound than the SP, but it had way more sample time—like three minutes.
So, can’t beat that. I got hundreds of beats on the SP-1200, but I like
the MPC. I’m really starting to get in the midst of it now.–Geographic1 (talk) 03:35, 18 June 2008 (UTC)
<<L’SP 1200
è l’ultimo membro della famiglia E-MU. Combina le più popolari
caratteristiche della nostra prima drum machine, il Drumulator, alle
capacità di campionamento, al design modulare e all’ampia serie di
messaggi da display dell’Emulator II. Grazie alla digitalizzazione del
suono a 12 bit, i suoni di batteria hanno una nitidezza e un’estensione
dinamica superiore a quella ottenibile con la più comune (e più
economica) tecnologia a 8 bit. Ma soprattutto, con la sua pur vasta
gamma di funzioni, l’SP 1200 è straordinariamente facile da imparare e
da usare. Anche dopo un breve periodo di dimestichezza, creare
partiture di batteria diventerà un’operazione semplice, naturale.
Abbiamo infuso ogni sforzo per rendere le operazioni dell’SP 1200 il
più possibile trasparenti, permettendovi così di realizzare i vostri
ritmi nel più breve tempo possibile. Amerete ciò che può fare
l’SP 1200.>>
E-mu SP 1200 is a classic sampler released August of 1987 by E-mu as an update of the SP 12.
It became famed for its gritty texture and ability to simulate the
sound of vinyl recordings. The SP-1200 became an icon of the golden era of hiphop
due to its ability to construct the bulk of a song within one piece of
portable gear, a first for the industry, which reduced studio costs and
gave groups more creative control over their own sound relying less on
studio engineers. Designed to be used as both a drum sequencer and sampler in one, the SP-1200 features 22 kHz (roughly half the fidelity of a compact disc)
and 12-bit resolution; along with the idiosyncratic SSM2044 filter chip
these machines were fitted with make for a dirty, gritty sound. One of
the attributes of the SP-1200 is its extremely small amount of memory,
roughly 10 seconds. The limited sampling time was overcome within the late 80s Hip-Hop production circles by sampling
33 1/3 records at 45 rpm with an additional pitch increase, then
replaying the sample from the SP1200 at a much slower speed (by the use
of ‘Multipitch’ and/or ‘Tune/Decay’ edit functions). This in
effect, "tricked" the sampler into expanding its total sample time. By
the early 90s, nearly every working Hip-Hop producer had adopted this
technique as industry standard until younger producers began buying
newer samplers such as Akai‘s MPC60, which came with a much higher bitrates and more sampling time.
“The SP 1200 can store up to 100 patterns, 100 songs and has a 5000
note minimum memory for drum sequences. It also has a mono mix output
and eight individual outputs, MIDI in/out/thru, SMPTE sync, and a
metronome output.”
There is one button that allows you to select between banks A, B, C
and D giving the user easy access to each of the 32 sounds. The front
panel contains several LED lights, buttons and eight volume and pitch
faders for each sound in the selected bank. Below each fader is a large
button to initialize the sound, or select the sound for editing, and a
switch to turn the trigger’s velocity sensitivity off or on.
The sequencer works in the familiar pattern-style of placing short
consecutive sections of samples into a song. The user can easily add
swing quantisation and tempo changes. The sequencer can sync the tempo
to SMPTE, MIDI or analogue clock pulses. Also, if one wanted, the
sequencer can synchronize the tempo to a tapping finger with the ‘tap
tempo’ button."[1]
Unlike the SP 12, the SP 1200 does not contain ROM
based samples; all samples are stored in volatile RAM and loaded from
floppy disk. The AD/DA converters remain 12 bit, as 16 bit converters
were still expensive and found only on high-end gear, such as the
contemporary E-Mu Emulator 3 (EIII), which had a list price over
$10,000 USD. Maximum sampling time was doubled from the upgraded SP 12
Turbo, to over 10 seconds, but the maximum single sample was 2.5
seconds. The sample rate was reduced slightly also (from 27.5 kHz to
26.04 kHz) to maximize memory usage. The SP 1200 retains all of the I/O
capabilities from the SP 12, minus the cassette output.[1]
JACKSON CONTI aka MADLIB & MAMAO OF AZYMUTH LIVE, J-ROCC, Jaoa Parahyba & Dj Nuts..
genre
Hiphop, Brazil
Location
Paradiso Amsterdam
Netherlands
Price
€ 16,00
Comments
JACKSON CONTI aka
MADLIB & MAMAO OF AZYMUTH LIVE, J-ROCC,
Jaoa Parahyba & Dj Nuts, Tony Allen, La Melodia,
De Javaanse Jongens, Lefto, Kindred Spirits Soundsystem
Jackson Conti: Sujinho
Madlib loves Brasilian music.
Back in 2002 that wasn’t so obvious. At that time he was beginning the
experiments that led to the Yesterday New Quintet records from 2003 to
today. Peanutbutter Wolf used to slide Coleman and myself CDs of those
early “rehearsals” as Madlib would call them and we spent many hours
dissecting and discoursing on them and how he was changing the music.
When the possibility of the Keepintime crew going to Brasil came up I
asked Madlib one night outside the Rootdown if he wanted to go. “Cmon
man…. Azymuth is one of my favorite groups” he confided. I had seen
many Azymuth records over the years, the Rio de Janeiro trio on
Milestone with some dodgy looking covers. I knew their proto-house
anthem Jazz Carnival but they weren’t my favorite group.
Music has a beautiful way of making you re-evaluate what you may have
discarded. Madlib is an artist that gives one new ears every couple of
years if you choose to pay close enough attention. I’m happy to say
that in regards to Azymuth – Madlib blew our heads open. The next time
I saw him at the Rootdown, he slipped me a CD of covers. All Azymuth.
To this day that CD still makes me giddy. Entrando Pelo Janela from
that session made it onto the Keepintime remixes. Madlib had gone
through the Azymuth catalogue and taught himself to play his favorite
songs and then recorded it. Okay. Now I’m back at the record store
frantically looking for those dodgy looking covers.
When we went to Brasil to recruit drummers the only name I knew I
wanted for sure was Mamão. Mamão is the drummer of Azymuth. I didn’t
know how to pronounce his name right and indeed my pronunciation of
Azymuth (Azze-muchi if you need to know how its done!) confused most
Brasilians. João Parahyba of the legendary Trio Mocoto picked up the
phone and called him for us and from there Ivan ‘Mamão’ Conti was a
part of the project.
Mamao is a fantastic drummer and a warm generous person. That scene in
the film where we played him the Madlib CD is a beautiful emblem of the
spirit of the Brasilintime. Mamão reacted with genuine excitement at
the music – singing and playing percussion along with it. Even calling
in his wife to hear. We knew that a Madlib, Mamão collaboration would
only take time and organization.
Mamao of course isn’t simply the drummer of Azymuth. He has a long
career in the studios of Rio that stretches back to the Jovem Guarda
era with the rock group the Youngsters and which includes sessions for
Roberto Carlos, Marcos Valle, Maria Bethania, Hyldon, Edu Lobo, Chico
Buarque, Gal Costa among many others. He is also the drummer on the Dom
Salvador record with the monster break! He continues to be active
playing and producing many projects for Far Out Records.
In 2006 after the Premiere of Brasilintime in Sao Paulo, Madlib,
Coleman and I went to Rio. We had two reasons to be there, to play at
MD2’s record release party and record with Mamão. On a rainy humid Rio
evening we convened and after some deliberations Mamão played an hour
and half of rhythms. The excitement in the room was palpable as he went
through his paces. Lots of Whooos were heard and pounds were swapped.
Madlib then played a new CD of tracks that he had been working on with
this project in mind and there was one that stuck with Mamao. Segura
esta Onda is that track and it is really a tribute to Azymuth. Mamao
ended up singing on it.
It was a great night and within two months Madlib had turned those rhythm tracks into the album you have in your hands.
Filled with songs from the greats of Brasilian music of the mid sixties
to early seventies. Luiz Eca, Chico Buarque, Joao Donato, Baden and
Vinicius, Marcos Valle, Dom Um Romao, Airto even George Duke gets a
look in. And of course Azymuth.
This a very special set of music.
I hope you have as much fun listening to it as we did watching it being made….
Yesterdays New Quintet
The Beat Konducta
Quasimoto
DJ Rels
The Bad Kid
Ahmad Miller
Monk Hughes
Malik Flavors
Joe McDuphrey
Monk Hughes and the Outer Realm
The Joe McDuphrey Experience
Madlib was born in Oxnard, California to musician parents Otis Jackson, Sr. and DoraSinesca Jackson. He was raised in Oxnard, and currently works in Los Angeles. He began making music with the rap group Lootpack
in the early 1990s. After his father started an independent label Crate
Diggas Palace (CDP) Records in 1996 to promote Madlib and his CDP crew,
including younger sibling, Oh No the Disrupt, and released an EP "Ill
Psyche Move", Lootpack caught the attention of Peanut Butter Wolf, founder of the Stones Throw Records
label. They released two singles and a full-length album on the Stones
Throw imprint in 1999. Madlib also worked with rap group Tha Alkaholiks for several albums.
Madlib’s first release under the guise of Quasimoto, titled The Unseen, was in 2000. The album was met with critical acclaim and named by Spin Magazine
as one of the top albums of the year. Madlib (as Quasimoto) was also
named as Hip Hop Connection’s Newcomer of the Year, in its annual
readers poll for 2000. The distinctive high-pitched voice of Lord Quas
is attained by playing the original beat at a slow speed, recording the
vocals over that slow speed, then speeding the vocals along with the
original beat back up to its original tempo. This can be done easily
using any modern recording software. Furthermore, some of the samples
that are sped up and slowed down include Madlib’s own voice (primarily)
and Mario Van Peebles recordings.
In 2001, Madlib took a turn away from traditional hip hop music, releasing his first Yesterdays New Quintet LP, Angles Without Edges. Yesterdays New Quintet is a Jazz-based, hip hop and Electronic-influenced
quintet made up of four fictitious characters, Ahmad Miller, Monk
Hughes, Malik Flavors, Joe McDuphrey; and Madlib under his real name,
Otis Jackson Jr. Madlib has continued to record other albums under the
different guises of YNQ members, including 2002’s tribute to Stevie Wonder, Stevie, 2004’s tribute to Weldon Irvine, A Tribute to Brother Weldon, Joe McDuphrey Experience,
and other singles and EPs released only on vinyl. He also created the
pseudonym Sound Directions to create the YNQ like Record The Funky Side
of Life. The first, released in 2002, was a collection of old dubreggae tracks from Trojan Records, and was titled Blunted in the Bomb Shelter. The second, Shades of Blue was released in 2003 and is a remix of Blue Note Records.
This album features original Blue Note recordings, some remixed and
resampled, and some replayed by Madlib, as well as rapping by M.E.D. aka Medaphoar.
2003 heralded the first of two collaboration projects. Working with the late Detroit hip hop producer J Dilla, the duo known as Jaylib released Champion Sound. The other was Madlib’s collaboration with hip-hop producer and rapper MF DOOM, known together as Madvillain. The 2004 Madvillainy album was highly anticipated, and well-received, topping many critics’ year-end lists.[4]Both albums attracted attention from the fans of the two collaborative artists, Dilla & Doom.
The 2005 Quasimoto album, The Further Adventures of Lord Quas was accepted well and continued the Quasimoto tradition of using vocal samples from Melvin Van Peebles. This was followed by a YNQ album called Sound Directions: The Funky Side of Life,
marking his first collaboration with session musicians. His first
collection of original (previously unused) hip-hop instrumentals Beat Konducta Vol. 1-2: Movie Scenes was released in March 2006, and on New Year’s Eve, a digital release Liberation with Talib Kweli was made public for free download for the first week of 2007. In August 2007, the sequel to Beat Konducta Vol 1-2: Movie Scenes was released.
Yesterdays Universe completed the cycle of releases by Yesterdays
New Quintet and introduces a new collection of artist names created by
Madlib: The Jazzistics, The Young Jazz Rebels, Jackson Conti, Suntouch,
The Jahari Massamba Unit, Kamala Walker & The Soul Tribe, The Last
Electro-Acoustic Space Jazz & Percussion Ensemble, The Yesterdays
Universe All-Stars, The Otis Jackson Jr. Trio, and The Eddie Prince
Fusion Band.
Percee P’s first album, Perseverance,
entirely produced by Madlib, was out in September 2007. Some other
records are supposed to come out such as the Supreme Team album (with
Karriem Riggins), as well as a solo album on BBE Records. It has been
reported that Erykah Badu made some new songs over Madlib’s
instrumentals, and that he would work on a project with Sa-Ra. For
years, rumours of Madvillainy 2 and Jaylib 2 have circulated, but no information has surfaced, besides one new Madvillain song on the Stones Throw Records compilation Chrome Children in 2006.
Madlib produced the recently-leaked Erykah Badu single, The Healer, which leaked in late 2007/ early 2008. The song formally debuted on Gilles Peterson‘s BBC Radio show in January 2008.
Daniel Dumile (pronounced/duːməleɪ/) (born January 9, 1971) is a British bornAmericanhip hop artist who has taken on several stage names in his career—originally Zev Love X, most famously MF DOOM, and in side projects such as King Geedorah, Metal Fingers, Viktor Vaughn, and collaboration projects such as DANGERDOOM and Madvillain. He remains one of the most popular and critically acclaimed indie artists today. Little is known about his personal life, though he did reveal in a 2006 interview on his MySpace page that he is married with two children, one of them teenage.
As Zev Love X, he formed the group KMD with his younger brother Subroc and another MC called Onyx The Birthstone Kid.[1] A&R Dante Ross learned of KMD from the rap group 3rd Bass, and signed them to Elektra Records.[2]
Dumile and KMD’s debut on record came on 3rd Bass’s song "The Gas Face" from The Cactus Album,[1] followed in 1991 with KMD’s album Mr. Hood, which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV’s Yo! MTV Raps and Rap City.
Subroc was struck and killed by a car in 1993 while attempting to cross a Long Island expressway before the release of a second KMD album entitled Black Bastards.[1] The group was subsequently dropped from Elektra Records before the release of the album due to controversy over the album’s cover art[2] which featured a cartoon of a stereotypical pickaninny or sambo character being hanged from the gallows.
With the loss of his brother, Dumile retreated from the hip-hop
scene from 1994-1997. He testifies to disillusionment and depression,
living "damn near homeless, walking the streets of Manhattan, sleeping on benches".[3][1] In the late 1990s, he left New York City and settled in Atlanta.
According to interviews with DOOM, he was also "recovering from his
wounds" and swearing revenge "against the industry that so badly
deformed him."[1]Black Bastards had become bootlegged at the time, leading to DOOM’s rise in the underground hip-hop world.
Dumile began to rap at open mic events at the Nuyorican Poets Café in 1998 where he withheld his face by putting a stocking over his head. His new identity was influenced by Marvel Comics supervillain Dr. Doom.
He wears the mask while performing and isn’t photographed without it,
except for very short glimpses in videos such as Viktor Vaughn’s "Mr.
Clean" and in earlier photos with KMD[1]
The release of Operation: Doomsday in 1999 by independent label Fondle ‘Em
marked the official turning point for Dumile in his reinvention of
himself from a major label recording artist of minor status to
independent artist, where he would find his greatest success. In 2000, Doom released his first collaboration with MF Grimm, entitled MF EP. Since then, the MF’s have begun a bitter feud.
During this time, Doom also began releasing instrumental albums, in a series known as Special Herbs.
DOOM’s first commercial breakthrough came in 2004, with the album Madvillainy together with producer Madlib under the group name Madvillain. Released by Stones Throw Records,
the album was a critical and commercial success. MF DOOM was seen by
mainstream audiences for the first time as Madvillain received
publicity and acclaim in publications such as Rolling Stone, New York Times, The New Yorker, and Spin. A video for "All Caps" and a four-date U.S. tour followed the release of Madvillainy. Additional videos for "Rhinestone Cowboy" and "Accordion" were released on the DVDs Stones Throw 101 and "Stones Throw 102: In Living the True Gods," respectively.
Though still an independent artist, MF DOOM took a bigger step towards the mainstream in 2005 with The Mouse and the Mask, a collaboration with producer DJ Danger Mouse under the group name DangerDoom. The album, released on October 11, 2005 by Epitaph, was done in cooperation with Cartoon Network‘s [adult swim]
and frequently references characters from its programs. DOOM also made
an appearance in "November Has Come," a track on Gorillaz’s 2005 album Demon Days. In 2006 DOOM hosted the [adult swim] Christmas special and he could be seen in between shows and other such things.
MF DOOM produced tracks for both of Ghostface Killah‘s 2006 albums, Fishscale and More Fish; and the two are currently at work on a collaboration album entitled Swift & Changeable. So far only one track has been released from the album, "Angels", which appeared on a Nature Sounds compilation in late 2006. DOOM has also revealed plans for a second Madvillain album with producer Madlib, with one song, "Monkey Suite", first appearing on the Adult Swim/Stones Throw Records album Chrome Children. Other potential projects mentioned by DOOM include new albums from DANGERDOOM, The John Robinson Project and KMD,[4]
as well as further albums under both his Viktor Vaughn and King
Geedorah aliases. However, many such DOOM projects have been rumored in
recent years without materializing.
Despite no new DOOM releases in 2006, Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the Chrome Children CD/DVD (hosted by Peanut Butter Wolf)
which featured a DVD performance of Madvillain and several other Stones
Throw artists. MF DOOM also continued to work with [adult swim] doing
voice-over work as Sherman the Giraffe on Perfect Hair Forever, being the voice for The Boondocks ads and previews and hosting their Christmas Eve 2006 programming.
MM..FOOD was reissued under the Rhymesayers label on July 24, 2007 as a special edition CD & DVD package.
MF DOOM will also be doing production on the second album of past collaborator, Kurious which is due early 2008. He has also made an appearance on Stones Throw’s B-Ball Zombie War on a track called "Mash’s Revenge" along with Guilty Simpson and the late J Dilla. Lately, DOOM has co-won a mtvU Woodie Award with Madlib in the category Left Field Woodie for Madvillain‘s "Monkey Suite" video.
According to an interview with long time collaborator John Robinson,
MF Doom will release his third LP under the "DOOM" moniker in 2008,
titled "Doompostor." [5]
As explained by John Robinson and C-Rayz Walz, live lip-syncing and
impostor-sending dating back to Rock The Bells in NYC (July 29, 2007)
has been orchestrated by Dumile as both a marketing mechanism and a
basis for understanding his new album.[6]
Did it on the sly
Before he’s gone bye bye spit it on the fly
Brush your teeth, rinse and gargle
A true nerd who messed with new words since Boggle
And used slang in Scrabble
Rhymed with a Northern drawl, twang and babble
Flossy pen jargon to break the world record
Do a Faustian bargain and tape the girl nekkid
"Mince Meat", from The Mouse and the Mask
MF DOOM’s lyrics are sometimes perceived as eccentric.
With an abundant use of polysyllabic rhymes and bizarre metaphors, MF
DOOM combines complex syntax with phrasing to create a rhyme flow that
is both exhausting and entertaining. His songs commonly lack the
typical verse/chorus structure in favor of showcasing extended rhyme
schemes and strophic or repeating beats and melodies.
Samples from old cartoons (particularly Fantastic Four cartoons in which characters often refer to their arch-enemy, Dr. Doom) frequently find their way into MF DOOM’s productions. Even before his work on the Adult Swim-influenced DANGERDOOM project, his raps alluded to popular movies and TV shows, often Star Trek and the Godzilla films.
Unlike many rappers’ first-person point of reference, MF DOOM refers
to himself in the third person to better convey his own semi-fictional
persona. DOOM himself is a caricature, a masked incarnation of the
"supervillain" that his lyrics describe, which combines with personal
traits and experiences to create an endlessly fascinating topic for his
own songs.
Originally, MF DOOM sported a mask that was very similar to Dr. Doom, the Fantastic Four villain. However his current mask designed by Lord Scotch, a New York graffiti artist, is modeled after the mask worn by Russell Crowe in the film Gladiator
The mask is said to hide the metaphorical scars remaining from the
death of MF DOOM’s brother Subroc in 1993; MF DOOM has also given a
number of alternative meanings for the mask, including the preservation
of creative anonymity in the increasingly image-driven genre of hip-hop:
“
To me, from a musical
aspect, hip hop is going into the direction where its almost damn near
100% on everything besides the music, what you look like, the sound of
your name, to what you’re wearing, the brand of clothing, whatever
intoxicants you choose to put in your body, everything except what the
music sounds like. So the mask is really a testament to yo, it’s not
about none of that, its straight about the wreck. You could be any
color or whatever you know what I’m saying? The mask represents
everybody to say that yo, nothing matters, the brand of clothing, none
of that matters, it’s about how you spit and how the beats is raw,
thats what its about.
copyright law is fascism. art should be free not the property of anyone (especially the property of corrupt money grabbing loansharks) but a unique line of communication between creator and listener and sometimes reflected from the listener to another audience. Don’t let the musical past die in anonymity. us diggers and breaks djs and producers try to keep musical history alive by giving it new life and form.
We are The Renegades of Free Musical Expression and this is our Manifesto.
**Scion AV Channel 5: Wax Poetics Radio**
<http://www.scion.com/channel5>
*DJ Monk-One presents Wax Poetics Radio
<http://www.scion.com/channel5>
*
*Host: Monk-One
Guest: DJ Premier*
Monk chops it up with the greatest beat maker of the last century in an exclusive, no-holds-barred convo. Gasp in amazement as never-heard-before sample sources are revealed. Head bop uncontrollably as legendary bangers from the Gang Starr chef are cooked before your eyes. Chuckle at Primo’s technique for dismantling wack laptop-using DJs. Scratch your head as he professes his love for Rush and AC/DC. Then ease back as Monk drops a set of ridiculous reggae-funk hybrids straight out of the dusty depths of Jamaica.
Get your blue notes on with some rugged jazz, dig the deep disco and get a taste of latin sabor.
THX mixtape per NORA del 1 dicembre 2007 – la diretta in streaming della trasmissione del 1 dicembre e’ saltata a causa di un problema tecnico, quindi per quelli che non hanno potuto ascoltare il programma ne sulla radio ne in streaming posto in questo articolo i link per scaricare gli mp3 del mixtape che ho fatto per la radio. Sperando che prossimamente sia possibile fare un’altra puntata, stavolta magari con qualche ospite che vorrei con me in trasmissione, ovvero gli MC del giro di Firenze, di Rifredi e delle zone limitrofe (Long Bridge All Starz, La Primiera, Rifredi Bastards) e DJ Craim (reduce dal campionato italiano ITF che ha vinto per il quarto anno consecutivo) che prossimamente sara’ anche lui in radio nell’ambito di NORA live set il sabato sera alle 23.00… L’ 8 dicembre DJ Craim sara’ a Cracovia (Polonia) a combattere per il titolo mondiale della International DJ Association. Presto altre informazioni dal mondo delle DJ Battles.
