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>maybe that's why he started to do his own beats, so control >the rhythm in the music like that instead of just lookin for >the snare all the time.
he makes his own beats in a distinctive way, b/c it allows him a freedom to play w/ the flow. he's been known to consider most other producers terribly cluttered w/ their soundscapes, & so for his productions, he makes something very barebones & empty, almost every time. they generally never have any hi-hats & there's so much room, the emcee is given the chance to do almost anything & still sound good. he's showcased. so, yeah, i think it has a LOT to do w/ it.
he can speed up/slow down, play w/ patterns, whatever...& it sounds crazy, 'cuz the beat is a vacuum.
oh & since i haven't heard it mentioned in the post:
the craziest thing for me remains this:
(*LOL @ this post becoming a praise-Marshall circlejerk*)
i think in that same Rolling Stone interview i mentioned, he actually says sorta what homie above just mentioned, that he learned a new trick each album. i think SSLP was rapping to the snare, MMLP was rapping to the kick & the snare & Eminem Show/Encore...this was what blew my mind: he learned to rap to the hi-hats.
he based his flow on the frickin' hi hat patterns of the beat.
i listened & i found 'em, but i can't remember the tracks off tops.
but that's the kinda stuff that gives him top 25 status. & we're talking all-time.
i mean...the frickin' hi-hats.
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"Pimping ain't art...but grabbing guns is?!" (c) Menphyel
"I've come to realise that I never loved Hip-Hop as a whole, just a particular era that happened at the same time as I was actively checking actively for new music."
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