- -40%, -50%, -60%, -70%... Découvrez les Soldes Amazon jusqu'au 16 février 2016 inclus. Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
Champion Sound Import
Vous cherchez un CD ou Vinyle ?nos promotions et CD à petits prix.
Offres spéciales et liens associés
Produits fréquemment achetés ensemble
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Liste des titres
Disque : 1
Descriptions du produit
Il était évident que les deux producteurs hip-hop les plus prolifiques de ces dernières années devaient collaborer ensemble, chacun ayant révolutionné une scène musicale, Madlib le marché indépendant, Jay Dee ou J-Dilla celui du mainstream.
Une chance que les oreilles de Dilla soient tombées sur le mix de ses propres productions, avec un Madlib rappant par-dessus. Cela a permis d’initier le contact et les deux hommes ont bien vite commencé à s’échanger par voie postale des CD remplis de leurs dernières productions afin que chacun choisisse les morceaux sur lesquels poser. La règle est simple, si Jay Dee rappe c’est Madlib aux commandes musicales, et vice versa. Le premier maxi mettra tout le monde d’accord, « The Red » et « The Official » demeurant parmi les deux plus belles réussites musicales de l’album.
Il n’était sur le papier pas forcément évident d’arriver à un objet musicalement identifiable car les styles des deux hommes, même s’ils sont plutôt aux antipodes, partagent la même habitude à utiliser les sample les plus improbables ainsi que la même volonté à innover sans cesse. Le résultat est même surprenant car l’impression qui ressort est que chaque producteur essaie d’émuler le style de l’autre, brouillant ainsi avec élégance les pistes sonores. Les moments de bravoure s’enchaînent, même si le sommet arrive dès le début avec l’incroyablement énergique « Mcnasty Filth » sur lequel Dilla invite ses potos Frank-n-Dank. Talib Kweli est l’unique invité sur « Raw Shit » , même si Quasimoto fait une apparition pleine de pertinence sur « Pillz » . Le rêve est devenu réalité, et grâce aux talents combinés des deux magiciens des machines aussi habiles micro en main, il devrait conquérir plus d’une nouvelle oreille.
- Copyright 2015 Music Story
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Commentaires en ligne
Meilleurs commentaires des clients
destiné tout particulièrement aux fans de madlib et jaydee
le concept interressant de deux mcs producteurs rapant l'un sur les productions de l'autre et inversement
Commentaires client les plus utiles sur Amazon.com (beta)
Now the bad news: "The Red" is different - radically different - from the beat to the incredible vocal chorus by Cris Williamson (from "Shine On Straight Arrow"). This new track isn't bad, but it's not the one I loved from the original release. "No Games" also has a new backing track, and this time I might call it an improvement. These differences are also reflected in the instrumentals on the second disc. The initial pressing had a minor track called "Ice" featuring Medaphoar which is not featured here in the original version or the extended (by one verse) version from the 12-inch vinyl of "Ice" b/w "Raw Addict," which thankfully was included. I hate to diss such a great collection, but most anyone picking this version up would want to know what they're missing.
Still, don't let that stop you from getting this incredible album from Jay Dee and Madlib. If you don't have it already, you're sleeping on a hall of fame release from the underground. Pick up the original "The Red" from the Stones Throw Ten Years compilation (also must-have), and "No Games" from P2P (after you BUY this album), and you're all caught up.
UPDATE: I just found the Stones Throw website lists these two tracks ("The Red," "No Games") as "Remix (Prev. Unreleased)" but this info isn't in the liner notes or here on Amazon. They should have moved these two remixes onto the bonus disc (it's only 66 minutes long), included "Ice" and left the original album intact. Much respect to PB Wolf, but there are enough missed opportunities here to call for a do-over. Oh, and I want a pony.
The rhymes are okay. Neither one of these guys try to push boundaries as far as subject matter. They talk about how good the music is, how dangerous Detroit and LA are, and complain about how women want things in return for sex. The guests are a little better than Jay Dilla and Madlib (Quasimoto makes a couple visits too), but even the incredibly skilled Talib Kweli doesn't deliver any lyrical depth.
But even though the rhymes were thrown together, the album is bangin, and that is what it was supposed to be. Not a classic, and maybe not something that will stay in rotation for several years. But the beats are how.
Neither of these guys gets the props they deserve in the overall hip-hop community (Jay Dee should be living in Puffy's house if success came down to sheer button-pushing, beat-drawing talent and Madlib should be driving off with no less than five of Jermaine Dupri's Bentleys), and it is this underground freedom that opens the door for all of the potential in the world. Yet, it is this same freedom that hamstrings the album in spots. Make no mistake: Madlib brings the more diverse, ludicrously original music to this project, while much of Jay Dee's beat offerings are re-visited territory. Still good stuff, but not as mind-blowingly refreshing as his partner's action.
Lyrically, the album is fun when it isn't taking barely satricial swipes at club gangsterism (the key word being "barely", meaning I'm not sure if they're satirizing it or if they actually intend to sell these stories in the same vein and path as the stories they're similar to). They've kept the guest appearances to a minimum, which pushes both of the artists to the limits of their expression. Madlib is forced to take a decidedly less jazz-oriented approach to the music for the record to be cohesive, while Jay Dee has to take on a lot of lyrical weight here he isn't exactly touted for any other time.
All in all, we are left with a pretty darn good hip-hop record.
fans of Madlib who come to this will miss some of the fuzzy lo-fi jazz that is his stock in trade, but will find enough here to keep them playing it. Fans of Jay Dee's work can't lose; they will have hit the motherlode here in the accumulation of even more of Jay Dee's trademark-funky beats, but also in having uncovered another incredibly original cat in Madlib.
Both producers have different styles and a blend of these two would make for excellent beats. Madlib has a dirty style, which in my opinion is sometimes too dirty and Dilla is the other way round. But a bit later I found out that it would have each rappin over each others beats, I felt a bit dissapointed. It took away a bit of the huge potential the project had.
A few weeks later I picked it up blindly (like you can do with most stonesthrow releases). I played it and wanted my money back. Don't get me wrong I produce myself and am a huge fan of both producers, but it was just dissapointed. We already knew the two aren't the greatest emcee's and madlib is the better of the two. But Dilla's flow is so weak, it sounds like nursery rhymes and have absolutely no content. He flows over madlib's beats that sound like rejects and it's just not banging. Madlib seems to get 'more expirimental' with everything progressive release, but has already said that he rarely puts a lot of time in his beats (that's cool and worked on some of his releases to make a nice chaotic sound) but this is taking that concept too far.
Then there are the other tracks with madlib flowin over dilla's beats. The beats are simplistic bouncers, and that works better, but it can't be called "good beats". It's stuff that any cat with fruityloops can put together in 20 minutes. But the combination with madlib on the mic is quite fun, but wears old soon. If you've heard 'the red', it's all like that. Catchy at first, annoying later.
Okay, I'm very negative about this, and a lot of people will enjoy this record (i do too, to some extent, the basses are really phat) but it's simple not what it could've been if madlib and dilla would have made the beats together (in one studio, or remixing each other) and have some of the true mc's that surround them on this. It could've been an excellent platform for cats Oh No (madlib's younger brother), Kazi, Medaphoar and many others to present themselves to a larger audience (all the pc-heads that dig madlib these days). Overall, skip the mediocre madlib productions with the whack dilla rhymes and download the dilla productions. You will be better off with mf doom's new joint (viktor vaughn - vaudeville villain) that presents a whole lot of new and super ill producers with the undisputed skills of MF to top it off.