Monday, March 20, 2006
SURFACE NOISE
We had a session with Silk Sheets, the beat master behind Just One, and MC in his own right. After working on his new beats, we offered him some of my Vinyl to farm for future beats. My hope was to find some use for the 'Focus 3' LP I bought, which has great sounds, but lacks something - listenability! Wouldn't it be great if we used the record to make a record that somebody might actually want to hear? The trick with this type of accepted piracy is to find sounds that are 'free and clear'. Usually horn blasts, string swells, vocals, flute solos - that type of thing typically works well. I first put on King Crimson's 'Lizard' LP. Immediately Sheets found some usable material. We all sort of stood up and said hey, that's neat. I looked at the track listing. I hadn't noticed that King Crimson did Ravel's 'Bolero' on the 'Lizard' record - no wonder it was so good. Sheets found some good stuff on the Focus record too, I let him take them home to fully farm for phonic fun. Stay tuned for the results.
We had a session with Silk Sheets, the beat master behind Just One, and MC in his own right. After working on his new beats, we offered him some of my Vinyl to farm for future beats. My hope was to find some use for the 'Focus 3' LP I bought, which has great sounds, but lacks something - listenability! Wouldn't it be great if we used the record to make a record that somebody might actually want to hear? The trick with this type of accepted piracy is to find sounds that are 'free and clear'. Usually horn blasts, string swells, vocals, flute solos - that type of thing typically works well. I first put on King Crimson's 'Lizard' LP. Immediately Sheets found some usable material. We all sort of stood up and said hey, that's neat. I looked at the track listing. I hadn't noticed that King Crimson did Ravel's 'Bolero' on the 'Lizard' record - no wonder it was so good. Sheets found some good stuff on the Focus record too, I let him take them home to fully farm for phonic fun. Stay tuned for the results.
Comments:
It was interesting how the King Crimson sounded like it would work for Hip Hop, but the Robert Fripp/Andy Summers opus "I Advance Masked"... not so much.
The early King Crimson, pre-'Red', is less rhythmically locked into to 'seven'. Sometime in the late seventies Fripp got into this 'seven' form that he's used on eveything he's done since. It's all sevens and fives and very staccato, not very easy to work with as beat fodder.
I love seven and five. I may actually count more naturally in five than I do in four.
It's very sad. Ask Rob about "Kashmir."
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It's very sad. Ask Rob about "Kashmir."
