>...between the 'beat tapes' and the fleshed out, opusesque
>(new word!) instrumental stuff, because...well...arent there
>both kinds of albums in most genres? you have the records that
>are literally a collection of songs, and then you have the
>ones where you can tell the artist put thought into the
>tracklisting

yeah but i think beat tapes are becoming their own thing (not genre god not genre), in their intent. a beat tape originally was what you used to shop beats that you were hoping to get someone to spit on. They were intentionally just long enough to get the mc hooked in but not long enough for them to steal your shit and do it without you (this before the tech revolution and the ease of just looping that bitch). i think dilla made them rose to fame as their own entities. no one wants to rap over any of those beats, just put them out there for anyone to grab. to the point i think some are even foregoing the whole shop it to mc's side. like that onra joint i don't think had any mc's in mind (though i could see some mc's rapping over it). the interesting thing is that its the format that has prevailed as the latest wave of instrumental hip-hop. geared towards mc's the beat tape beat is heavy hit from the get and one dope change maybe two, maybe none. its just hit it and quit, hip-hop style, which is a far cry from the cinematic stuff laied down in the early instrumental hip-hop stuff (i'm thinking shadow mo wax ish stuff here not early early stuff). this short and concise factor is nice, especially when you get something like onra's joint which just hits you and keeps hitting you all the way out. but by example, i personally think the vocal and longer joints on Los Angeles cause it to lag a bit. the album is most effective when he's just hitting and quitting. hmmmm... i may have just come up with a new term. hit it and quit it beats. :)

>btw im 23.

I was off by about four years. You got a lot of good years ahead of you.

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