I think my head just exploded. It takes away from rap itself - it takes away from the Just Ice. However, as a whole, this second group effort comes nowhere near the levels that Critical Beatdown reached. Before we get into the specifics of his work on Funk Your Head Up, there's a few things that have to be explained about Kool Keith. There are no download links available on this site unless the artists themselves provide their permission. People walk over to him and say, 'Yo, you should be in arenas! I didn't even feel that part about it when I wrote that.
The lyrics - bar two lines at the end of the second verse, added to the album version due to Keith coming in a bar or two early and needing to find extra rhymes to fill the gap before the second chorus - read the same, say the same, in parts even still sound the same; but the meaning is almost entirely changed by Keith's performances. Some say he was the first rapper to rhyme off-beat - to insert syllables into the spaces between drum sounds, to make rap into a fluid element of the music, allowing rappers to become soloists rather than limiting them to a vocal form of percussion. People were probably telling him, 'He writes clever, he writes slick, I know he must be saying something about you'. Again, though, this narrative - by no means unreliable - misses some important points. Nowhere does this master of the dis excel more than on 'Pluckin Cards'.
It was made more on a humorous level. The direction they were given by the label was to make Critical Beatdown 2, essentially. At twenty-three tracks deep, it's way too long for a listener from today's audience to invest their time into. Walk on by, my two readers. Click it and That's it, you're done amigo! As the crew had already done a Critical Beatdown, they opted to do the exact opposite, recording subliminal disses and street anthems to funkier beats which were still heavily reliant on multiple layers of samples. The band had it all: innovative rap styles, adventurous and wide-ranging subject matter, a flair for incorporating melody and musical colour into beats routinely hard-edged enough to attract the attentions of hip hop purists. A lot of diss tracks seem to have derived from the blueprint Keith laid out, so on that note alone, this song is pretty good.
Throughout - even on the duds the odd attempt at swingbeat, 'I Like Your Style'; the thoroughly rotten 'Porno Star'; 'Stop Jockin' Me', which just doesn't really work; the messy experiment-too-far 'Chorus Line Pt 2' - Ced and Moe's production is superb: meticulously dense, as dust-encrusted and murky as the subway tunnel the group are pictured in on the cover, it redefines the concept of funk for the hip hop era and gives Keith's rhymes, in particular, the sort of blaxploitation-via-sci-fi setting they uniquely demanded. Upload files to TraDownload with single click: How to download ultra magnetic mcs funk ya head up files to my device? It was hailed as a great album, but by '88, it was just another one among many. They quickly started up work on a second album, but then apparently broke up, leaving their work incomplete and unreleased until much later, anyway. Click it and That's it, you're done amigo! The line generally taken down the years by Ultra fans is that the maestro was bored when he laid down the album vocal and, energised by a more vivacious backing track, only put his full effort in to the remix. It's one of his best-ever pieces of music, the guitar being more itch than scratch, the two-note, beginning-of-the-bar bass line taken straight from the Talking Heads minimalist funk playbook, the whole confection of drums, squeals, skitters and shivers among the finest slices of instrumental hip hop you're ever likely to encounter. Critical Beatdown is not only every bit as good as those records, a case can easily be made that it's better than each and every one of them.
This repeated interrogation of themes isn't an accident - nor is the frequent appearance of sections where, often in the persona of a character he calls Rhythm X, Keith plays with the sound of syllables or letters, bouncing words containing them around the beats, toying with the feel and not worrying too much about meaning, curiously and investigatively savouring words like a Michelin-starred chef testing a new supplier's ingredients to establish whether they're an improvement on what he already uses. It was just what I saw. All content is Copyright © 2007-2017. There's nothing wrong with Ced's rhymes on this record - indeed, it's his best performance on an Ultramagnetic album. Not only does he apparently set out to dis almost every one of his New York contemporaries, he makes it oblique, sometimes even almost subliminal. Just paste the urls you'll find below and we'll download file for you! You can also share ultra magnetic mcs funk ya head up or any other file with the community.
Kool Keith's brand pimping of the Ultramagnetic name is pretty funny, though. So use the widget below to search for what you really want, buy it, and the blog gets some of the profit. That's a pretty obtuse insult. And Tim Dog went right back to sucking. He's got a thing about school. The remixes specifically the East Coast one by Da Beatminerz are heavily preferred, though.
I'm not sure how that happened, but it doesn't matter, as the song still sucks. They got more centred into that rather than what rap was. Just paste the urls you'll find below and we'll download file for you! The production certainly stands up better nowadays than 'Critical Beatdown' which although its a classic, sounds very much of its time. Buying things from Amazon helps keep the blog sustainable. All rights reserved by the author. The major label hadn't really got any track record with rap at that point, and Ultra probably looked a good bet. Yet, while most of that analysis is broadly true, the real picture is a great deal more complicated.
You get the sense that while rap for most rappers is about responding to the beat and engaging their wit, intellect, vocabulary and creativity, for Keith each and every journey behind the microphone is a chance to reinvent and reconstitute his entire creative process. It takes away from the Tricky T. But 1992 would prove to be a pivotal year in hip hop history, its close marking the effective end of the New York Golden Age and with it, a move away from sounds and styles based around intricate layers of rattly drum samples and James Brown yelps and hollers - the sound Ultra had helped invent, which had given other artists templates they'd turned into careers. Listen again, and the two 'Poppa Large's are less an original and a remix, and more like two different songs. I actually really liked this track, and the chorus is fucking hilarious to boot. You've kind of got to feel for Mercury, too: they released 'Make It Happen' as the first single, and it's undeniably great - a Ced Gee production meshing James Brown with That Petrol Emotion, over which he and Keith trade verses of pugnacious individuality and electrifying presence: but getting anyone outside a few rap shows to play it on the radio would have been impossible.
Today our worries about sonics - such as they exist - are over whether digital compression denudes music of its richness and tone; back then, the need to keep the cost of the package low by putting audio quarts into single-vinyl pint pots meant that fans never really got to hear the music as its makers intended. If you were a rapper with a career to tend, you couldn't risk having Kool Keith guest on your album - he'd probably dis you without you realising. The album is jazz; the remix is punk rock. . You can prefer one or the other, but they're mutually interdependent, indivisible parts of the same unique creative vision. But how bad could it possibly be? On the album, he's sitting back with a satisfied half-smile, as if he were discussing his approach with an interviewer; on the remix he's in your face, manic, grinning, shouting - living the lyrics, becoming this new character, this bombastic verbal gymnast Poppa Large, right before your ears. The opinions presented on this site are those of the author alone, and not of Google, Blogger, or any of the authors of the links listed in the sidebar, unless otherwise noted.