老几林的音乐

DL http://115.com/file/bhu5y32f# 2011是一个动荡的年份。大几林要出国，破事一大堆；我则碰上了本命年，糟糕的事件在上半年的几个月纷纷出来搅局。好在GDT还是能如期跟大家见面，相信大家听过后也会发现DDM这一次跟上一张有了很大的变化。 GDT的主题是女性，灵感受到The Felt的启发，但实际上的效果却大相迳庭。专辑里十二首有歌词的歌描述的是各种类型的女性的生活状态与内心世界。其实由于性格的原因，我对异性的直接了解并不多，主要还是以观察和主观的推断而来，所以整体上歌词撰写手法其实是写小说式的，很大一部分人物都写得模棱两可，特意模糊处理了地域和时代背景。可以把它们看作寓言，甚至可以忽略角色们的性别。 专辑从2010年12月中旬开动，2011年6月我完成自己的部分，然后因为客串们普遍表示叙述性的歌词很难接续，将原定发行日期也延迟了N个月——而且最烦的是，其中一首歌还是因为客串的拖拉而不得不放弃。 Good Day Tube这个压根不通的名字体现了我们的山寨，硬要说含义的话，那就是对未来的期许。 "GOOD DAY" PUOS：这个instrumental本来是打算说的，但是效果不好，于是当了intro。 Daaikylyn：这个beat印象中是年初时候做出来的，本来想学一下巧克力水时期的Dilla，结果失败了。 "Babara" PUOS：上一张《Goose》里"OUATITC"的正式续集，客串本来想继续找C-Block的小胖，但因为种种原因没有成功，于是换成了上一张里在“你以为我不想”中有犀利表现的P.O.E,后来POE没力了，又换成了恐龙李呵呵真是曲折。OUATITC是泛指，而Babara这个角色则体现了风光与浮华背后的辛酸。这个现象太普遍了，简直是放之四海而皆准。 Daaikylyn：这首原曲我一听就知道PUOS肯定会很喜欢，于是简单切了一下，并没有做太多处理。歌词内容我很喜欢。 "Jasmine" PUOS：部分来源于真人真事，相信有过两地恋经历的人都多少有些感同身受。Jasmine是个普通的姑娘，她代表着柔弱下藏着的坚强。 Daaikylyn：我印象中这首伴奏是GDT session中最早做出来的，当时正好做完了仲夏夜之梦，山海经等曲，换了新电脑并更新了更高版本的FL，不得不说新版本的一些功能还是很好用的，导致在做这张专辑时我分配了更多的精力在音响的处理上。最后选择了这样一种相对简洁的编曲。另外对于这首歌的主题我确实挺有感触的。 "Astraea" PUOS：首先要说这beat太美漫了以至于最后留了一分多钟instrumental。这首歌的灵感来自某一天，不问时事的我偶然听说了令人发指的药家鑫案，然后愤慨之下写了这么一个歌。Astraea是神话中蒙眼的正义女神，但在当下坚持正义简直太难了，受到无情的践踏是常事，几乎死路一条。关于歌词里的“郑川嫦”，她是张爱玲笔下很孤凉的一个姑娘。 Daaikylyn：这又是一首几乎没怎么处理就拿上来的伴奏，听起来感觉非常MF Doom便稍微加工了一下。 "Betty" PUOS：名字来源是Too $hort那首"Blowjob Betty"，情节来自于十六七岁时写的一个“短篇小说”。空虚带来的歇斯底里在这首歌里无限被放大，但其实却是我们身边很常见的现象。另外原版对于自残的情节处理得要比现在的歌词血腥得多。 Daaikylyn：在做这歌的时候我一直在听The Roots的Game Theory和DJ Shadow的 Endtroducing，不敢说产生了共鸣，但还是得到了很多的启发。最终的beat在Dr.Poozee的建议下改过一回，出来的效果还行，不得不说的是虽然铺子在这张专辑中仅贡献了一首伴奏，但它还是一直充当着Da Dickminerz的良心的作用的。 "Jacqueline" PUOS：写这首歌时刚从香港回来，我听着beat想到的是亚皆老街上汹涌的人流和无尽的喧闹，然后有一个大龄女青年低着头，默默地穿行其间，Jacqueline这个名字本来就像纯净水、豆腐和青菜一样清淡。那些生活得很恬淡的、沉默而不善表达的、很多小心思的姑娘，其实并没有绝种。 Daaikylyn：说来惭愧，这又是一首没咋处理的伴奏，由于原曲太过神奇也为了避免画蛇添足，我们几乎就直接拿上来用了。 "Valerie" PUOS：专辑完成的第一首歌，算是另类地向我近年来最喜欢的电影之一《V for Vendetta》致敬，歌词基本脱胎于在电影里Valerie留下的叙述她的同性之爱故事的那封信。本来这封信是象征着希望的，但修改后的结局也不小心泄露了我心底的绝望，因为现状比影片里还糟糕。 Daaikylyn：这首伴奏是第二首做出来的，当时Poozee非常喜欢，我其实觉得还好，简单的处理了一下音响的效果但还是有些不稳。对于intro里类似还珠格格的配乐我们也产生过一些争议，但最终决定保留。 "Bahargul" PUOS：主角来自新疆喀什的背景设定确实有些敏感，但我只是特别向往那里而已。这首歌讲的其实是弱势文化被同化的无奈，别说少数民族，汉族自己又何尝不是一样？ Daaikylyn：这个伴奏是Dicken Years时期做的，比较简陋。 "Rebecca" PUOS：这首歌非常没诚意。主题硬掰一下可以是人生的无聊以及不确定性，外加提醒大家过马路要走斑马线，不要走神。Rebecca的人物特质参考了我原来公司的前台，当然，她不叫Rebecca，也不卖电影票。 Daaikylyn：这首做的比较随便，本来想在中间加一段笛子进去但由于没有找到合适的sample只好作罢，不过最后和主题配合的还行。 "Lisa" PUOS：这首是近期沉溺于爱情中的Dr. Poozee在GDT中唯一的神来之笔，由于他文件名太随便险些被我永久删除，结果一听就惊了，这首歌其实是track 3的相反镜像，Lisa这名字本身我也特喜欢。天生丽质的年轻女孩，有点不择手段地追逐着理想，但顽强的背后其实还是藏着柔弱。客串交给了来自广西的funke brother 黄少康，据悉他应该会成为DDM的第三个MC。 Dr. Poozee：由于沉溺于爱情中，Dr. Poozee没有时间写创作手记。 "Carrie" PUOS：其实女人闹单相思起来比男人还要纠结。Daaikylyn这个beat太jazzy hiphop了，于是也自然地将结尾带到了豁达处之的积极面，其实豁达是一钟难能可贵的品质，很多人都做不到。 Daaikylyn：这首歌也改过一回，最后成品实在是很爵说，个人还比较满意，是GDT最后完成的伴奏。 "Janet" PUOS：想法来自于我五月时做了好几个晚上的连续剧梦：Janet是个独居的工作压力很大的上班族，很少吃早饭。她不知道自己有一个多年前有一个被无痛人流杀死的姐姐，已经化作了她的一个隐藏人格。我认为这个剧情有点像天线宝宝。 Daaikylyn：这首歌的前半段本来是在DY时期就特别特别想做的，但苦于当时技术不够，一直拖到现在，稍微模仿了一下八角大夫的名曲Blue Flower。后半段也是DY时期做出来的残品，放在这里倒是正好。 "TUBE" PUOS：当作skit的原因同intro “GOOD DAY”，没办法说。 Daaikylyn：是这样的，这首歌几乎是即兴搞出来的，略乱，但我还挺喜欢。本来想尝试一下大馄建议的“生切”方法，但还是不太成功，变成了堆。值得一说的是大馄的见解的确给我带来了很多启发，虽然作品仍无法令他满意。 "Vivian" PUOS：My own version of “Dear Mama”。像以前一样，太过个人的歌当作bonus。我妈妈听到很感动。但我觉得我做得还很不够。 Daaikylyn：对于这个伴奏的处理我有过好几种想法，起初想做成Pops Rap那样的，之后又想做的Kanye一点，最后做成了四不像。 只能说一句Good Day Tube让大家久等了，可能这次的整体感觉不是那么讨喜，可能会有同学听过很失望。但还是要感谢大家。Da Dickminerz做到第三张，都可以出Box Set了 /ll 实在是与大家的支持和鼓励分不开的。

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这歌写的太美了，clifford jordan那个版本也好听，这个project的幕后主使其实是bill lee，spike lee的亲生老豆。都是柯川的真传人啊。

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原文地址:http://www.ibiblio.org/pub/electronic-publications/stay-free/archives/20/public_enemy.html Stay Free!: What are the origins of sampling in hip-hop? Chuck D: Sampling basically comes from the fact that rap music is not music. It's rap over music. So vocals were used over records in the very beginning stages of hip-hop in the 0s to the early '80s. In the late 1980s, rappers were recording over live bands who were basically emulating the sounds off of the records. Eventually, you had synthesizers and samplers, which would take sounds that would then get arranged or looped, so rappers can still do their thing over it. The arrangement of sounds taken from recordings came around 1984 to 1989. Stay Free!: Those synthesizers and samplers were expensive back then, especially in 1984. How did hip-hop artists get them if they didn't have a lot of money? Chuck D: Not only were they expensive, but they were limited in what they could do--they could only sample two seconds at a time. But people were able to get a hold of equipment by renting time out in studios. Stay Free!: How did the Bomb Squad [Public Enemy's production team, led by Shocklee] use samplers and other recording technologies to put together the tracks on It Takes a Nation of Millions. Hank Shocklee: The first thing we would do is the beat, the skeleton of the track. The beat would actually have bits and pieces of samples already in it, but it would only be rhythm sections. Chuck would start writing and trying different ideas to see what worked. Once he got an idea, we would look at it and see where the track was going. Then we would just start adding on whatever it needed, depending on the lyrics. I kind of architected the whole idea. The sound has a look to me, and Public Enemy was all about having a sound that had its own distinct vision. We didn't want to use anything we considered traditional R&B stuff--bass lines and melodies and chord structures and things of that nature.? Stay Free!: How did you use samplers as instruments? Chuck D: We thought sampling was just another way of arranging sounds. Just like a musician would take the sounds off of an instrument and arrange them their own particular way. So we thought we was quite crafty with it. Shocklee: "Don't Believe the Hype," for example--that was basically played with the turntable and transformed and then sampled. Some of the manipulation we was doing was more on the turntable, live end of it. Stay Free!: When you were sampling from many different sources during the making of It Takes a Nation, were you at all worried about copyright clearance? Shocklee: No. Nobody did. At the time, it wasn't even an issue. The only time copyright was an issue was if you actually took the entire rhythm of a song, as in looping, which a lot of people are doing today. You're going to take a track, loop the entire thing, and then that becomes the basic track for the song. They just paperclip a backbeat to it. But we were taking a horn hit here, a guitar riff there, we might take a little speech, a kicking snare from somewhere else. It was all bits and pieces. Stay Free!: Did you have to license the samples in It Takes a Nation of Millions before it was released? Shocklee: No, it was cleared afterwards. A lot of stuff was cleared afterwards. Back in the day, things was different. The copyright laws didn't really extend into sampling until the hip-hop artists started getting sued. As a matter of fact, copyright didn't start catching up with us until Fear of a Black Planet. That's when the copyrights and everything started becoming stricter because you had a lot of groups doing it and people were taking whole songs. It got so widespread that the record companies started policing the releases before they got out. Stay Free!: With its hundreds of samples, is it possible to make a record like It Takes a Nation of Millions today? Would it be possible to clear every sample? Shocklee: It wouldn't be impossible. It would just be very, very costly. The first thing that was starting to happen by the late 1980s was that the people were doing buyouts. You could have a buyout--meaning you could purchase the rights to sample a sound--for around $1,500. Then it started creeping up to $3,000, $3,500, $5,000, $7,500. Then they threw in this thing called rollover rates. If your rollover rate is every 100,000 units, then for every 100,000 units you sell, you have to pay an additional $7,500. A record that sells two million copies would kick that cost up twenty times. Now you're looking at one song costing you more than half of what you would make on your album. Chuck D: Corporations found that hip-hop music was viable. It sold albums, which was the bread and butter of corporations. Since the corporations owned all the sounds, their lawyers began to search out people who illegally infringed upon their records. All the rap artists were on the big six record companies, so you might have some lawyers from Sony looking at some lawyers from BMG and some lawyers from BMG saying, "Your artist is doing this," so it was a tit for tat that usually made money for the lawyers, garnering money for the company. Very little went to the original artist or the publishing company. Shocklee: By 1990, all the publishers and their lawyers started making moves. One big one was Bridgeport, the publishing house that owns all the George Clinton stuff. Once all the little guys started realizing you can get paid from rappers if they use your sample, it prompted the record companies to start investigating because now the people that they publish are getting paid. Stay Free!: There's a noticeable difference in Public Enemy's sound between 1988 and 1991. Did this have to do with the lawsuits and enforcement of copyright laws at the turn of the decade? Chuck D: Public Enemy's music was affected more than anybody's because we were taking thousands of sounds. If you separated the sounds, they wouldn't have been anything--they were unrecognizable. The sounds were all collaged together to make a sonic wall. Public Enemy was affected because it is too expensive to defend against a claim. So we had to change our whole style, the style of It Takes a Nation and Fear of a Black Planet, by 1991. Shocklee: We were forced to start using different organic instruments, but you can't really get the right kind of compression that way. A guitar sampled off a record is going to hit differently than a guitar sampled in the studio. The guitar that's sampled off a record is going to have all the compression that they put on the recording, the equalization. It's going to hit the tape harder. It's going to slap at you. Something that's organic is almost going to have a powder effect. It hits more like a pillow than a piece of wood. So those things change your mood, the feeling you can get off of a record. If you notice that by the early 1990s, the sound has gotten a lot softer. Chuck D: Copyright laws pretty much led people like Dr. Dre to replay the sounds that were on records, then sample musicians imitating those records. That way you could get by the master clearance, but you still had to pay a publishing note. Shocklee: See, there's two different copyrights: publishing and master recording. The publishing copyright is of the written music, the song structure. And the master recording is the song as it is played on a particular recording. Sampling violates both of these copyrights. Whereas if I record my own version of someone else's song, I only have to pay the publishing copyright. When you violate the master recording, the money just goes to the record company. Chuck D: Putting a hundred small fragments into a song meant that you had a hundred different people to answer to. Whereas someone like EPMD might have taken an entire loop and stuck with it, which meant that they only had to pay one artist. Stay Free!: So is that one reason why a lot of popular hip-hop songs today just use one hook, one primary sample, instead of a collage of different sounds? Chuck D: Exactly. There's only one person to answer to. Dr. Dre changed things when he did The Chronic and took something like Leon Haywood's "I Want'a Do Something Freaky to You" and revamped it in his own way but basically kept the rhythm and instrumental hook intact. It's easier to sample a groove than it is to create a whole new collage. That entire collage element is out the window. Shocklee: We're not really privy to all the laws and everything that the record company creates within the company. From our standpoint, it was looking like the record company was spying on us, so to speak. Chuck D: The lawyers didn't seem to differentiate between the craftiness of it and what was blatantly taken. Stay Free!: Switching from the past to the present, on the new Public Enemy album, Revolverlution, you had fans remix a few old Public Enemy tracks. How did you get this idea? Chuck D: We have a powerful online community through Rapstation.com, PublicEnemy.com, Slamjams.com, and Bringthenoise.com. My thing was just looking at the community and being able to say, "Can we actually make them involved in the creative process?" Why not see if we can connect all these bedroom and basement studios, and the ocean of producers, and expand the Bomb Squad to a worldwide concept? Stay Free!: As you probably know, some music fans are now sampling and mashing together two or more songs and trading the results online. There's one track by Evolution Control Committee that uses a Herb Alpert instrumental as the backing track for your "By the Time I Get to Arizona." It sounds like you're rapping over a Herb Alpert and the Tijuana Brass song. How do you feel about other people remixing your tracks without permission? Chuck D: I think my feelings are obvious. I think it's great. ........................................ 这两段说的太残忍了/ll Chuck D: Putting a hundred small fragments into a song meant that you had a hundred different people to answer to. Whereas someone like EPMD might have taken an entire loop and stuck with it, which meant that they only had to pay one artist. Shocklee: We were forced to start using different organic instruments, but you can't really get the right kind of compression that way. A guitar sampled off a record is going to hit differently than a guitar sampled in the studio. The guitar that's sampled off a record is going to have all the compression that they put on the recording, the equalization. It's going to hit the tape harder. It's going to slap at you. Something that's organic is almost going to have a powder effect. It hits more like a pillow than a piece of wood. So those things change your mood, the feeling you can get off of a record. If you notice that by the early 1990s, the sound has gotten a lot softer.

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灵魂背叛者是马力冲出牙买加的第一张专辑，最早在uk由trojan发行，记得我刚开始几盘的时候这张还不太好找，后来倒是糟了。这个时期的wailers本来就很操狗，可以听听这个里面的no sympathy和400年，再加上李师傅的制作太诡异，所以最后的效果很可怕，这张明显没有后来在island出的那些细，但其中的不靠谱感后来的专辑也就没有了，其实后来的好多专辑感觉就像是把这些歌重新改成口水歌再唱唱就完了。所以听来听去现在马力还是最爱听这些早期的和后来现场里的。说回来这张里面几首翻唱的歌也特好听，try me，my cup，rebels hop还串了段cloud nine进去，you can be what you wanna be，cloud nine！

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