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bad, but I didn't like some things about it.
Mainly, I hated that you had to have a Scott Storch, Lil Jon, Neptunes, Just Blaze, Jazze Pha beat just to get club play. But, I did enjoy MOST of their work, and they made hits for folks that wouldn't have had hits in that era.
It's a milli examples of when it worked, and when it didn't. I wasn't the biggest fan of Tha Liks "Best you can" but I was just happy to see them getting play on BET/MTV. Jazze Pha gave a LOT of people some bangers, and I enjoyed a lot of them. Tracks like "Choosin" from Too Short, "The one" for Cee-Lo and T.I., he had a lot and doesn't get the credit he deserves.
I'd even say Lil Jon was DOPE at what he did as a producer, and wasn't the one trick pony people think. He had three different sounds that all used similar elements, but served different purposes. The slower crunk sound we knew him most for, In Bia Bia, Git crunk, Damn, and all that...then, the upbeat Twerk type tracks such as Get low, U and dat, Shake that monkey....and then, the Hyphy work such as Blow the whistle, Muscle cars, and Tell me when to go. I loved all three sounds and still do. But, I felt tracks like the Mobb Deep one were hella forced.
Scott Storch laced a lot of folks...his cross regional style was dope as hell when it worked, but he burnt out too fast. Even lesser known tracks like Sly Boogy "That's my name" were dope as hell to me. He could make hits for artists that tailored a bit more to their style than how Jon and Neptunes did.
I didn't have a problem with the producers at all, but it made everything on radio sound the same, and true fans of the artists rarely enjoyed the tracks as much as commercial heads. Too Short was one of the exceptions, E-40 as well...we ALL loved what they did with them.
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