WingsOfAnAngel
Banned
ill o.g.
Battle Points: 3
I know and dread the question that follows, when kids ask..."how long does it take Joey Beats to make a beat?
It's times like this that allow me the rare opportunity to view my seasonal allergies as a blessing, so I could hock a fresh sticky loogey on their face. Or maybe I should simply spew: "How many attempts did it take your mom & dad to conceive you? Was it in industry standard time? Or did good ole dad have problems, being that his sperm count was a little low? What is it you want to know, future entrepreneur, how much beat juice I have left?"
Given each type of individual in the hip-hop game, and to avoid descriptive grouping and generalizing, I will just leave a number next to each desired response. Please understand, this is one of those articles in which I release my sarcastic side on matters that make me tick. It's really only for those who have the brain capacity to understand that, this is a stab at myself, more than anything. I find it humorous that these thoughts pass through my head over such small matters. I don't present these thoughts out of conceit or contempt. I present them to you in making light (hopefully laughter) of my own frustrations and defense mechanisms.
"What are you going to do, put pressure on me? Are you going to sit here and make it seem as if BEATS are the missing piece in the giant puzzle that is your bright future? Give me a fucking BREAK!
Question: Why hasn't this future KRS-one (that has supposedly been in the game for years) found his Scott la Rock yet? Why have you been stupid enough to make it seem as if you were going to take over the planet with your music, yet you have no producer? That's like me going to any random location, renting a car, getting all groomed up in a tux, buying flowers, knocking on the door of one of a long list of better than average looking girls in the area, and asking her on a date, despite having never met her and the fact that she might be married. Oh yea money, I'm all for it. Your dreams are mine. Let's make it happen. Pronto. Aye, aye sir. Right away."
"What the **** makes you think I would ever, in a million years, want to sacrifice future material (music that I love, has, and WILL be released) on someone who has no statistics or previously released records what so ever? I don't care if you're the next Canibus. If you don't have the work ethic in this game, you are doomed. Matching the work ethic of my partner Sage Francis is not an easy feat; forget about matching his ability to emcee. What the **** makes you think I want to move down the totem pole? What? Just for the sake of pulling the next random guy up? How stupid does this sound? 'Let me take beats intended for signed artists, that would help establish my own rep, and give them to this local hardrock, just because he gave me a 'times are hard speech.' Man, you could be the next Tiger Woods rapper sensation mainstream sure bet, but the fact that you use these tactics on me makes me want to vomit on you. What the **** make you think I would just let someone, who I don't even know, CUT in line before me? Is that the word on the street? Was it stated somewhere that I'm the type of guy who waits all night, and then lets people who haven't waited just sneak in front of me? I wouldn't have done all that well at Studio 54 would I? So overnight, I'm supposed to become your wait in line *****, an old maid in a dress free of charge? If you're going to treat me like a trick, why not treat me like the broad you never boned? You know the girl, where if you had to ask for some, the answer was always: "No"
"Listen clear. I am not here to save you or your non-existent reputation. The simple fact is, my own rep and career border non-existence. I sample records. Records don't manipulate me into sampling them. I mix loops & breaks. I don't mix undeserving emcees with music I worked hard to make and dig for. And don't tell me there aren't any producers out there. With the popularity of hip-hop right now, participants in every area are at an all-time high. You trying to emcee is an example of that, no? All you need to do is surf the net, check the more popular hip-hop websites, and you'll be surprised at what you can find. If you're so nice, give another cat who is in the same predicament as you the opportunity. The similarity of situations would serve as a strong common denominator between the two of you."
"Don't give me the speech about distance either, with the addition of mp3's & digital technology, it's easier than ever to do songs with people from all over the world without actually meeting up with them in the same studio. If both parties are hungry enough, it will get done either way. It's a catch 22 situation, us linking up isn't an option. Either you form your own path and travel it, or you do what you're doing now: nothing."
I've said it a thousand times, I like to take my time. I don't make a beat every ten minutes. I am a finder first, producer second. I favor a style of production that is based on digging. I prefer a fluent but heavily filtered raw sound, not clean and generic. I mix loops with breaks that I find on orginal pressings of vinyl. I don't walk into a store, buy a CD or compilation of any kind and just sample them. I go and get my hands dirty digging through dusty bins of mostly crap. The pay off, when it comes, let it be a loop, drum break, or just a good record, is well worth it. Even when I find something that's worth using, I still have to find other sounds that go with it. Call me crazy, but I like my songs to change and have more than one sequence. I don't want the repetitive two bar pig in a blanket kind of music. I'm not some Primo biter, (that all do poor jobs by the way) who uses the same drum kit over and over again with overly triggered piano and triumphant soundtrack stabs. I avoid the 'its ok to be simple and be boom bap' bandwagon circa 1997 when people finally fucking caught onto what DJ Premier was doing. (3 years after the fact) I'm no idiot. I have an ear for grooves and music. My ego ends there. I'm not going to sit here and trick you and every ***** in the place that I'm some musical prodigy or creative genius, just because I can push bottons on a sampler. Do you think emcees are the only ones in hip-hop that can purposely dummy down the music? Oh contraire mon friar! The same goes for producers. If I had a choice in the matter, it would take 6 months to make one sick beat like T.R.O.Y. (To Reminice Over You by Pete Rock & C.L. Smooth) that goes down in people's hearts as a classic, rather than putting aside two weeks of studio work to make seven mediocre joints. (I better keep my mouth shut here)
Every time out of the box I'm trying to create A-Sides. When I'm making something that doesn't fit that description, I erase the beat as well as any sentimental attachments to it. When you're trying to make a name for yourself and you're playing with the big boys, NEVER come mediocre. I try to follow in the footsteps of those whose music I love the most, Pete Rock, Large Professor, Showtime, & DJ Shadow. Don't complain 'Sage Francis gets all of your good beats.' Of course! What did you expect? If and when I make a phat track, I'm supposed to forgo my partner, favorite emcee, and great friend...turn around and give it to you??? Duh...when I play chess, I don't move pieces around at random. I play to win, thus I calculate and sit on my move until I find the best way. If I didn't take my time, it wouldn't be a Joey beat. I don't care if it takes half a year, rushing me defeats the whole purpose. Be patient due to the fact that the production medium is a different process. It's much different than picking up a pen, napkin, or pad. To do a beat, you need equipment, not just a fancy notebook. The process is digging, finding, mixing, not working, digging more, finding, mixing, kind of working, digging more and more, finding, mixing, almost there, digging more, more, and more, finding, mixing...finally something to work with that actually goes. As you can see, digging and combing through all the sounds is what takes time. After that's out of the way, the beat is 75% done, the other 25% is still a substantial amount of time. Not to mention each record I buy costs money. Most good stores put hefty price tags on beats, grooves and loops. Thank God for trading, because I don't have the dough to walk into record stores like Groove Merchant, TSL, or A-1 and just clean house. Producers with a label budgets, or lots of money, are monopolizing those records. It's a digger's paradise for those who have paid their dues, a place I want to be. It's like a union. Anyone who has made more than a respectable contribution is in. And hopefully, after the release of my next LP, I'll be closer to that goal. And besides, after the work is done and the track is finished, 8 (and most recently 9) times out of 10, I'll give it to Sage Francis."
"If your man is so nice, then what the **** are you doing sitting here, talking to me for? Let me guess. You're doing me a favor, right? Wrong. You want to do me a favor? Here, hold my sampler while I kiss your girlfriend. If your man is so nice, how come I've never heard of him? Why coerce me if this unfound treasure needs to be recognized? Let me take another stab. Two heads are better than one, right? Eeeyyyooo! That's on some old John Wayne Gacy dressing up as a gay clown type ****!
It's times like this that allow me the rare opportunity to view my seasonal allergies as a blessing, so I could hock a fresh sticky loogey on their face. Or maybe I should simply spew: "How many attempts did it take your mom & dad to conceive you? Was it in industry standard time? Or did good ole dad have problems, being that his sperm count was a little low? What is it you want to know, future entrepreneur, how much beat juice I have left?"
Given each type of individual in the hip-hop game, and to avoid descriptive grouping and generalizing, I will just leave a number next to each desired response. Please understand, this is one of those articles in which I release my sarcastic side on matters that make me tick. It's really only for those who have the brain capacity to understand that, this is a stab at myself, more than anything. I find it humorous that these thoughts pass through my head over such small matters. I don't present these thoughts out of conceit or contempt. I present them to you in making light (hopefully laughter) of my own frustrations and defense mechanisms.
"What are you going to do, put pressure on me? Are you going to sit here and make it seem as if BEATS are the missing piece in the giant puzzle that is your bright future? Give me a fucking BREAK!
Question: Why hasn't this future KRS-one (that has supposedly been in the game for years) found his Scott la Rock yet? Why have you been stupid enough to make it seem as if you were going to take over the planet with your music, yet you have no producer? That's like me going to any random location, renting a car, getting all groomed up in a tux, buying flowers, knocking on the door of one of a long list of better than average looking girls in the area, and asking her on a date, despite having never met her and the fact that she might be married. Oh yea money, I'm all for it. Your dreams are mine. Let's make it happen. Pronto. Aye, aye sir. Right away."
"What the **** makes you think I would ever, in a million years, want to sacrifice future material (music that I love, has, and WILL be released) on someone who has no statistics or previously released records what so ever? I don't care if you're the next Canibus. If you don't have the work ethic in this game, you are doomed. Matching the work ethic of my partner Sage Francis is not an easy feat; forget about matching his ability to emcee. What the **** makes you think I want to move down the totem pole? What? Just for the sake of pulling the next random guy up? How stupid does this sound? 'Let me take beats intended for signed artists, that would help establish my own rep, and give them to this local hardrock, just because he gave me a 'times are hard speech.' Man, you could be the next Tiger Woods rapper sensation mainstream sure bet, but the fact that you use these tactics on me makes me want to vomit on you. What the **** make you think I would just let someone, who I don't even know, CUT in line before me? Is that the word on the street? Was it stated somewhere that I'm the type of guy who waits all night, and then lets people who haven't waited just sneak in front of me? I wouldn't have done all that well at Studio 54 would I? So overnight, I'm supposed to become your wait in line *****, an old maid in a dress free of charge? If you're going to treat me like a trick, why not treat me like the broad you never boned? You know the girl, where if you had to ask for some, the answer was always: "No"
"Listen clear. I am not here to save you or your non-existent reputation. The simple fact is, my own rep and career border non-existence. I sample records. Records don't manipulate me into sampling them. I mix loops & breaks. I don't mix undeserving emcees with music I worked hard to make and dig for. And don't tell me there aren't any producers out there. With the popularity of hip-hop right now, participants in every area are at an all-time high. You trying to emcee is an example of that, no? All you need to do is surf the net, check the more popular hip-hop websites, and you'll be surprised at what you can find. If you're so nice, give another cat who is in the same predicament as you the opportunity. The similarity of situations would serve as a strong common denominator between the two of you."
"Don't give me the speech about distance either, with the addition of mp3's & digital technology, it's easier than ever to do songs with people from all over the world without actually meeting up with them in the same studio. If both parties are hungry enough, it will get done either way. It's a catch 22 situation, us linking up isn't an option. Either you form your own path and travel it, or you do what you're doing now: nothing."
I've said it a thousand times, I like to take my time. I don't make a beat every ten minutes. I am a finder first, producer second. I favor a style of production that is based on digging. I prefer a fluent but heavily filtered raw sound, not clean and generic. I mix loops with breaks that I find on orginal pressings of vinyl. I don't walk into a store, buy a CD or compilation of any kind and just sample them. I go and get my hands dirty digging through dusty bins of mostly crap. The pay off, when it comes, let it be a loop, drum break, or just a good record, is well worth it. Even when I find something that's worth using, I still have to find other sounds that go with it. Call me crazy, but I like my songs to change and have more than one sequence. I don't want the repetitive two bar pig in a blanket kind of music. I'm not some Primo biter, (that all do poor jobs by the way) who uses the same drum kit over and over again with overly triggered piano and triumphant soundtrack stabs. I avoid the 'its ok to be simple and be boom bap' bandwagon circa 1997 when people finally fucking caught onto what DJ Premier was doing. (3 years after the fact) I'm no idiot. I have an ear for grooves and music. My ego ends there. I'm not going to sit here and trick you and every ***** in the place that I'm some musical prodigy or creative genius, just because I can push bottons on a sampler. Do you think emcees are the only ones in hip-hop that can purposely dummy down the music? Oh contraire mon friar! The same goes for producers. If I had a choice in the matter, it would take 6 months to make one sick beat like T.R.O.Y. (To Reminice Over You by Pete Rock & C.L. Smooth) that goes down in people's hearts as a classic, rather than putting aside two weeks of studio work to make seven mediocre joints. (I better keep my mouth shut here)
Every time out of the box I'm trying to create A-Sides. When I'm making something that doesn't fit that description, I erase the beat as well as any sentimental attachments to it. When you're trying to make a name for yourself and you're playing with the big boys, NEVER come mediocre. I try to follow in the footsteps of those whose music I love the most, Pete Rock, Large Professor, Showtime, & DJ Shadow. Don't complain 'Sage Francis gets all of your good beats.' Of course! What did you expect? If and when I make a phat track, I'm supposed to forgo my partner, favorite emcee, and great friend...turn around and give it to you??? Duh...when I play chess, I don't move pieces around at random. I play to win, thus I calculate and sit on my move until I find the best way. If I didn't take my time, it wouldn't be a Joey beat. I don't care if it takes half a year, rushing me defeats the whole purpose. Be patient due to the fact that the production medium is a different process. It's much different than picking up a pen, napkin, or pad. To do a beat, you need equipment, not just a fancy notebook. The process is digging, finding, mixing, not working, digging more, finding, mixing, kind of working, digging more and more, finding, mixing, almost there, digging more, more, and more, finding, mixing...finally something to work with that actually goes. As you can see, digging and combing through all the sounds is what takes time. After that's out of the way, the beat is 75% done, the other 25% is still a substantial amount of time. Not to mention each record I buy costs money. Most good stores put hefty price tags on beats, grooves and loops. Thank God for trading, because I don't have the dough to walk into record stores like Groove Merchant, TSL, or A-1 and just clean house. Producers with a label budgets, or lots of money, are monopolizing those records. It's a digger's paradise for those who have paid their dues, a place I want to be. It's like a union. Anyone who has made more than a respectable contribution is in. And hopefully, after the release of my next LP, I'll be closer to that goal. And besides, after the work is done and the track is finished, 8 (and most recently 9) times out of 10, I'll give it to Sage Francis."
"If your man is so nice, then what the **** are you doing sitting here, talking to me for? Let me guess. You're doing me a favor, right? Wrong. You want to do me a favor? Here, hold my sampler while I kiss your girlfriend. If your man is so nice, how come I've never heard of him? Why coerce me if this unfound treasure needs to be recognized? Let me take another stab. Two heads are better than one, right? Eeeyyyooo! That's on some old John Wayne Gacy dressing up as a gay clown type ****!
