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| 09.17.03 (6:50 pm) [edit] |
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no one reads this except me so unless someone drops me a line soon I'm going to delete this whole dumb experiment..
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| Lifespan of a soundalike |
| 09.14.03 (9:59 pm) [edit] |
That Wayne Lonesome is on the Bug LP...and who's that Tiger soundalike on that Wiley riddim? Any takers?
From the JA Star:
"IF THERE IS a blueprint, most definitely there will be a carbon copy. It is inevitable. This premise holds true in many aspect of life and music is no exception.
There is always a new artiste that comes along sounding exactly like an established act, be it intentional or accidental. "I know for a fact that artistes imitate other artistes because they are popular, hoping to gain some notoriety from it...," stressed Brenda Sutherland.
Rip-Offs
One notable rip-off of a voice in the dancehall was in the case of the feline, Tiger, versus the equine-like creature, Zebra, with the latter being the defendant. Wayne Lonesome also copied the trademark growl made popular by Tiger. There are many others. Many say that in the premature stages of his career Merciless had Bounty's voice covered like a carpet on a floor. These days many say that promising deejay Assassin's voice is reminiscent to that of 'Mr. Wow' - Baby Cham.
While many do not mind the soundalikes, there are others that despise their existence. Brenda Sutherland told THE WEEKEND STAR that she will not condemn a fresh act that starts off sounding like an artiste that they admire. However, she says she will fling fiery tantrums at the individuals that after some time cannot create a niche for themselves but relegate themselves to roles similar to that of flies.
Individual Style
Jeremy Harding, the manager of dancehall's new poster boy, Sean Paul, shares similar sentiments. Harding argued that the mark of a true artiste is one that is able to adapt from others yet possesses the creativity to make it into their own."It is never a bad thing to emulate another person to (eventually) find your own groove, but at the end of the day it is how much of your stamp that you put on it versus how much you just downright steal."
Dancehall dubpoet DYCR tells THE WEEKEND STAR that a soundalike tells him that there is something unique about the artiste being emulated.
Personally, he has no problems with others sampling his artistic flavour. "Me hear persons doing things sounding like me but me nuh business with them, 'cause dat just give DYCR some more power. If dem not upset with themselves for not being original why should I?" DYCR asked.
While not chastising those who choose to imitate another to 'eat a food', DYCR threw caution at the wind as he warned that imitators that subsequently do not find a style of their own will before long be in the unemployment lines.
"Most of them have a shorter career span than the original, because the original is just the original and people will embrace the original longer than any carbon copy," emphasised DYCR."
Tyrone Reid
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| Back in the Homeland |
| 09.08.03 (4:45 pm) [edit] |
[image]drsmile_1150651333 .jpg[/image]
And the police reckon he makes them nervous
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| American foreign aid at work |
| 09.08.03 (1:09 am) [edit] |
Your $ + the Israeli Defence Force =
[image]drsmile_296701913.jpg[/image]
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| I'm not tired baby, I'm chillin.. |
| 09.03.03 (10:52 pm) [edit] |
Great rave about/love poem to a fave club
Love the bit where rappers talk back to the audience disses they could lipread or even hear...
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| Prop-agenda |
| 09.03.03 (7:35 pm) [edit] |
Egghead Eno comes up with a new neologism.
(btw hows the concept factory going these days Simon?)
Dunno which is more perplexing: all that time spent with Bono in the studio, or the Rorty fixation...
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| Yard Report |
| 09.03.03 (12:04 am) [edit] |
Latest ed of Jamaica's X-News (the dancehall tabloid par excellence) is at it again
"Anus (bottom)" how quaint is that?
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| More proof positive that these are the last days... |
| 09.02.03 (10:53 pm) [edit] |
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Serious times indeed
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| Wiley again |
| 09.02.03 (6:08 pm) [edit] |
that did sound like a diss, didn't it.
what I should have added is that Wiley's productions give that sub bass more room to move than anything else in the hardcore continuum/post acid thang since early warp bleep 'n' bass (LFO/Sweet Exorcist). Not too many worlds away from "clonk", much of the minimal 8-bar/grime/whatever they call it this week, really...
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| and they go crunch ta boot! |
| 09.02.03 (4:01 pm) [edit] |
Man like Wiley*: the intensifier (aka the hagiographer) ) reckons this (go to his 28 Aug missive)
but dontcha think some of his riddims sound like the were built on fruity loops? Not a diss really especially when you ponder the origins of the pulse x riddim....
* "WILEY – “Blizzard”
Wiley’s productions are simultaneously reaching IDM levels of abstraction while being the most dead simple physical records this side of “Grindin”. Nothing really happens in 8-bar productions after they make their opening statements, but at their best the instrumentals are weird enough or physical enough or both to be carried along for their three or four changing-same minutes. “Blizzard” reminds me – amazingly – of Piano Magic’s more abstract vignettes like “Music for Annahbird” reworked for a Greensleeves riddim album. A tea-kettle whistle, ultra-dry bongo rhythm and then BAM: what sounds like car doors slamming in time and that trademark Wiley-bass, a ridiculous, overmodulated waveform that skips up and down octaves and sounds like nothing so much as a cyborg jug band. It’s hilarious and terrible and boring and gripping and the future."
[Jess @ nylpm 's take on the man]
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