>some of these things better, as far as being able to
>appreciate what was brought to the game by artists you're not
>directly familiar with.
>
>like, for some of these folks mentioned, i could go off the
>top of the dome and mention nuances they brought to their
>work, their genres, or music in general, whereas on many
>others i'm reading the words but can't quite grasp what y'all
>are saying.
>
>plus, this would make the poast dope for any
>non-ethnomusicologists out there, lurkers or otherwise, who
>are quietly tired of being told they can't 'hear jimi'.
>
>if you ain't up on splicd, basically go to youtube for a
>video, then copy the url, go to splicd.com, and paste it, and
>provide a start and stop timestamp.
>
>so on the steely dan joint, when i was talking about the close
>harmonies on Peg that fagen and becker schooled michael
>mcdonald on, out of an 8 minute video, from 6:05 to 8:40 or so
>was relevant. (and if you just wanted to hear the part where
>mm was talking about how the closeness of the harmonies,
>essentially singing chords, was weird to him at first and made
>it hard for him to hold pitch, that's more like 8:20-8:40).
>
>i know that in the past, in some dilla poasts, i've been like,
>'where, i can't see, HERE, DIAGONALLY!!' when it came to some
>flips and shit. for something i'm motivated to learn about, i
>*might* could listen to a 4 minute record, slowly, twice, for
>the revelation. but if you had a quick link to the part of the
>song that illustrated the concept (back to doc's original
>poast), that would help a lot.
>
>
>peace & blessings,
>
>x.
>
>www.twitter.com/poetx
>
>=========================================
>** i move away from the mic to breathe in