N
NbgTotti
Gast
Haha das Kendrick-Ghostwriting, Dallasdrake und Eminem bleibt Eminem aber sonst passt das schon größtenteils. Werds daheim sicher auch noch das ein oder andere mal anhören, Grüße aus dem Urlaub, ciao!
Sampler Dr. Dre - Compton (07.08.15)
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Decepticon
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Reimemonster2k
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320kbps gibts überall, musst nur tief genug graben
Decepticon
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sowie Transcodesöhnchen...
Reimemonster2k
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Daffy_Mit_Uzi
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"Where Ren at?"
hätt ihn ja aufs album holen können statt irgendwelche poprapper
hätt ihn ja aufs album holen können statt irgendwelche poprapper
Decepticon
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""some initial thoughts:
in reality, dre has always played it pretty safe. the majority of music he's made over the past decade has remained in the vaults, i assume because, at this point, dre has nothing to gain, but a lot to lose from taking the chance of releasing more music. just ask joell ortiz, bobby creekwater, last emperor, rakim, etc.
but here we are, listening to dre take chances that no one expected he would. but, remember, dre usually plays it safe. he's always hired better lyricists to write his rhymes, he's always masked his normal voice with a deeper voice when he raps, he's always had more guests on his albums than usual, so that he can take the lyrical back seat, and, most importantly, he's always used his albums to showcase other artists more than to showcase himself (ie chronic = snoop, 2001 = eminem/hittman). in other words, those rappers inspired him enough to put out an album; he had something to get behind, and invest in. both of those albums weren't just vehicles to promote his artist's though, they were also big moves in the industry: chronic ushered in g funk as well as dre's solo career, and 2001 ushered in the new millennium, in a not-so-subtle way.
that brings us to compton, the album dre put out right before his biopic dropped. now, what makes this album brave to me is the total change in style from his past works:
- he's using a comfortable voice, rather than a forced deeper voice.
- he's rapping about himself, rather than hiding behind overly-generalized tracks, like 2001's n*ggaz and hoez.
- the album is much more fast paced than his laid back debut and sophmore album. as pointed out by the very amusing 1st listen review at djbooth, this album has rock album tempo - although, it slows down at the end (ie animals) - which is the exact opposite of the bulk of dre's discography, post NWA. the closest thing in dre's discog to this album's pace - in terms of beats, energy, and attitude - is nwa's straight outta compton. based on that fact, it's no surprise a film about those days of dre's life inspired him to make this album. nothing on dre's other two solos is nearly as busy as the music on this new album (or NWA's compton album).
in conclusion, of all the people in the music industry, nobody is living more comfortably and has less to prove than dr. dre. because of that fact, we are very lucky to receive an album like this from him. he could have played it safe, by putting on the deep voice, getting a bunch of living legends - rather than new bucks, like anderson paak - and putting out a bunch of beats that come from the patented laid back style of dre's past. instead, he put out the bravest, most unexpected album of his career. sure, there are still ghostwriters; sure, there are still tonnes of guests on here; sure, the album was made to promote his new film; but this album shows dre reaching back to those NWA days, when he was hungrier, and more bare than his guarded, give-the-people-what-they-want solo career. it reminds me of the interlude in track one of kanye's album, yeezus, where the choir of children sing this: he'll give you what you need, it may not be what you want. people might not like how different the medicine tastes, at first, but that shit'll heal you." "
triffts ganz gut...
in reality, dre has always played it pretty safe. the majority of music he's made over the past decade has remained in the vaults, i assume because, at this point, dre has nothing to gain, but a lot to lose from taking the chance of releasing more music. just ask joell ortiz, bobby creekwater, last emperor, rakim, etc.
but here we are, listening to dre take chances that no one expected he would. but, remember, dre usually plays it safe. he's always hired better lyricists to write his rhymes, he's always masked his normal voice with a deeper voice when he raps, he's always had more guests on his albums than usual, so that he can take the lyrical back seat, and, most importantly, he's always used his albums to showcase other artists more than to showcase himself (ie chronic = snoop, 2001 = eminem/hittman). in other words, those rappers inspired him enough to put out an album; he had something to get behind, and invest in. both of those albums weren't just vehicles to promote his artist's though, they were also big moves in the industry: chronic ushered in g funk as well as dre's solo career, and 2001 ushered in the new millennium, in a not-so-subtle way.
that brings us to compton, the album dre put out right before his biopic dropped. now, what makes this album brave to me is the total change in style from his past works:
- he's using a comfortable voice, rather than a forced deeper voice.
- he's rapping about himself, rather than hiding behind overly-generalized tracks, like 2001's n*ggaz and hoez.
- the album is much more fast paced than his laid back debut and sophmore album. as pointed out by the very amusing 1st listen review at djbooth, this album has rock album tempo - although, it slows down at the end (ie animals) - which is the exact opposite of the bulk of dre's discography, post NWA. the closest thing in dre's discog to this album's pace - in terms of beats, energy, and attitude - is nwa's straight outta compton. based on that fact, it's no surprise a film about those days of dre's life inspired him to make this album. nothing on dre's other two solos is nearly as busy as the music on this new album (or NWA's compton album).
in conclusion, of all the people in the music industry, nobody is living more comfortably and has less to prove than dr. dre. because of that fact, we are very lucky to receive an album like this from him. he could have played it safe, by putting on the deep voice, getting a bunch of living legends - rather than new bucks, like anderson paak - and putting out a bunch of beats that come from the patented laid back style of dre's past. instead, he put out the bravest, most unexpected album of his career. sure, there are still ghostwriters; sure, there are still tonnes of guests on here; sure, the album was made to promote his new film; but this album shows dre reaching back to those NWA days, when he was hungrier, and more bare than his guarded, give-the-people-what-they-want solo career. it reminds me of the interlude in track one of kanye's album, yeezus, where the choir of children sing this: he'll give you what you need, it may not be what you want. people might not like how different the medicine tastes, at first, but that shit'll heal you." "
triffts ganz gut...
flowin.fong
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the watcher, forgot about dre, bitch niggaz, the message, das sind alles "erwachsene" tracks, wo er über sich rappt und sich nirgends versteckt. was sind denn für großartig neue themen auf "compton"?der talkingtomydiary-text ist lächerlich, krasse standrad backinthedays-gestern und heute-vergleich. grade ein ordentlicher weed-song fehlt dem neuen album.
Decepticon
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kann mich nicht an sozialkritische Themen aus seinem Mund und eher glorifizierende Scheisse erinnern...schade, dass ihm diese Einsicht offenbar spät kam sonst hätte es mit dem Rakimteil was werden können...Weedsongs sind für Vollspasten...
Amadoooo
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es bringt generell wenig 2001 mit dem neuen album zu vergleichen. 16 jahre sind ne lange zeit. compton hab ich bisher nicht in ruhe gehört nur kurz in ner freien halben stunde angespielt. quali mäßig klingt es schon mal sehr dick
Daffy_Mit_Uzi
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ich skipp immer erst durch, seit meiner ersten cd...
was mich stört (und was für mich auch das letzte kendrik album unhörbar gemacht hat) is dieses durcheinander auf den meisten tracks...
1min intro-gelaber, hook, 8 lines, bridge, hook, beatwechsel, 12 lines mit stimmvariation, gelaber, bridge 2, 8 lines, hook, outrobeat mit gelaber
ich will n loop, 2-3 16er (bars!!!) und ne hook
was mich stört (und was für mich auch das letzte kendrik album unhörbar gemacht hat) is dieses durcheinander auf den meisten tracks...
1min intro-gelaber, hook, 8 lines, bridge, hook, beatwechsel, 12 lines mit stimmvariation, gelaber, bridge 2, 8 lines, hook, outrobeat mit gelaber
ich will n loop, 2-3 16er (bars!!!) und ne hook
R
RichGirl
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flowin.fong
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day the ni**az took over?lil ghetto boy? usw
bloß weil dus nicht verträgst...
R
RichGirl
Gast
warum redet niemand über den überkrassen eminem part auf medicine man. endlich em über einen nicht trash beat
Decepticon
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OK, hab seit Jahren die alten Dre Sachen nichtmehr gehört. Weed zu nem Weedsong zu rauchen ist die größte Verschwendung die es gibt. Also Lemon Haze aus Adam und Bier zu Rakim 7th Seal war damals heilig. Bin aber zu alt für solche Kinderreien. Wenn nurmehr aus Adam oder ich nehms vom Strauch. (für nicht mehr als 7 Iddeus) Über Weed zu rappen ist auch arm.
Ja, der MnM Part ist super.
R
RichGirl
Gast
hab nichts vom letzten satz verstanden
Schimanski
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Wieso zischt das Album eigentlich so viel? Tonal klingt das total verhunst. Kaum Grundtonwärme, kaum Punch, zu viel Glanz. Hat der das über seine eigenen Kopfhörer abgemischt?
Ansonsten bin ich sehr angetan. Soundbild ist geil.
Ansonsten bin ich sehr angetan. Soundbild ist geil.
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