SaintJitterxburgFL

1y

Take Kanye bring back Dilla, God

mr get dough

1y

2 geniuses

SaintJitterxburgFL

1y

Take Kanye bring back Dilla, God

JeffersonSteelflex

1y

weirdo

SaintJitterxburgFL

1y

Take Kanye bring back Dilla, God

SaintJitterxburgFL

1y

Take Kanye bring back Dilla, God

JeffersonSteelflex

1y

weirdo

SaintJitterxburgFL

1y

Kanye? Yeah

2words

1y

Not true. The Dilla time book is filled with grey area narratives like this that youtubers then repeat as gospel with no critical thought

The Motown beat tape was inspired by Kanye (also known as Dill Withers)

Donuts was inspired by Madlib

It’s very obvious that donuts is nothing like Ye and more madlibs drumless weird style (done better), Motown is ye’s banging soul style (done better)

The book frames this confusingly and overlaps the two tapes and influence. Which to be fair they were close in time but it’s clear from the sound and other sources that Motown Tape is the Ye/Rocafella response and Donuts is the Madlib/Stones throw album (DJ house shoes said right after donuts came out that Dilla doing madlib’s sound, and Questlove made the Ye connection upon hearing Motown tape)

The book was cool but could’ve done better at being accurate and thorough and clear in certain respects. There’s a lot of BS especially about quantification the MPC. Dan Charnas basically retroactively says Dilla was just a programmer and not a musician and gives the creator of the MPC all the credit for making his time feel possible, ignoring the fact that his time feel was already fully formed before he used the MPC and it was likely more a result of always having some elements played live (often the kick) against other programmed or straight elements rather than the idea of “independently quanitizing” each sound

The book says how quick Dillas process was, 5-10 minutes a beat but still suggests that he’s sitting there tweaking parameters for each sound to get the right timing rather than the quicker more intuitive way which is basically just recording the elements live, or at least some of them. I dont think it’s about him nudging kicks it’s about him playing them with feel on the real time recording

Another quote in the book was from Dillas brother saying “he made music the way he nodded his head, it was just how he felt the music” or something like that, and to me that’s so telling that it was a physical thing and he was playing those grooves live. The whole “programmer” revisionism in the book sucks and is clearly just trying to make a symbolic connection with Detroit, and while the whole “grid” thing connecting the grid of Detroit and the grid of the MPC was cute narratively but it’s not accurate as a music book and kind of didn’t do Dilla justice as a musician

2words

1y

Not true. The Dilla time book is filled with grey area narratives like this that youtubers then repeat as gospel with no critical thought

The Motown beat tape was inspired by Kanye (also known as Dill Withers)

Donuts was inspired by Madlib

It’s very obvious that donuts is nothing like Ye and more madlibs drumless weird style (done better), Motown is ye’s banging soul style (done better)

The book frames this confusingly and overlaps the two tapes and influence. Which to be fair they were close in time but it’s clear from the sound and other sources that Motown Tape is the Ye/Rocafella response and Donuts is the Madlib/Stones throw album (DJ house shoes said right after donuts came out that Dilla doing madlib’s sound, and Questlove made the Ye connection upon hearing Motown tape)

The book was cool but could’ve done better at being accurate and thorough and clear in certain respects. There’s a lot of BS especially about quantification the MPC. Dan Charnas basically retroactively says Dilla was just a programmer and not a musician and gives the creator of the MPC all the credit for making his time feel possible, ignoring the fact that his time feel was already fully formed before he used the MPC and it was likely more a result of always having some elements played live (often the kick) against other programmed or straight elements rather than the idea of “independently quanitizing” each sound

The book says how quick Dillas process was, 5-10 minutes a beat but still suggests that he’s sitting there tweaking parameters for each sound to get the right timing rather than the quicker more intuitive way which is basically just recording the elements live, or at least some of them. I dont think it’s about him nudging kicks it’s about him playing them with feel on the real time recording

Another quote in the book was from Dillas brother saying “he made music the way he nodded his head, it was just how he felt the music” or something like that, and to me that’s so telling that it was a physical thing and he was playing those grooves live. The whole “programmer” revisionism in the book sucks and is clearly just trying to make a symbolic connection with Detroit, and while the whole “grid” thing connecting the grid of Detroit and the grid of the MPC was cute narratively but it’s not accurate as a music book and kind of didn’t do Dilla justice as a musician

SaintJitterxburgFL

1y

Take Kanye bring back Dilla, God