"Quickly breakdown the transitions btwn an artist's discography"
For the artists who's entire catalog you're familiar with (hoping it's not TOO long)...quickly run through the transitions, changes, and evolution of the artist between their albums. You can speak on anything...the change in production/producers, guest artists, their voice/style, who they aimed to appeal to, etc. etc. etc. etc.
if somebody posts one, you can just respond to theirs and speak on how you feel, co-sign, disagree, cuss them out, however you want to do it.
1. "I'll start....Snoop Dogg(y Dogg)" In response to Reply # 0
Doggystyle: Took the G-Funk from Chronic and basically made it his own sound. Laid down blueprint for his career and the direction he'd go forever.
Doggfather: Dre's presence is greatly missed, but in a way, it laid out the sound for the last period in G-Funk with Soopafly, DJ Pooh, and Daz. It kept similar themes from Doggystyle...."You thought" tried to be "Ain't no fun," "Vapors" was an 80's remake just like "Lodi Dodi." His flow fell off some and didn't sound as focused, and lyrics/storytelling seemed to suffer as well.
Da game is to be sold: Took that No Limit palette and used a small amount of the West Coast sound. Definitely attempted to cater to NL's fans with Beats by the pound n the rest of them, along with a million guest appearances from NL. It didn't hurt him much, and many of the commercial heads appeared to love it. This was when he started to experiment with whatever the hot sound was at the time, which showed on almost every album afterwards.
Top Dogg: Found a great balance btwn the South sound and the current West Coast sound at the time. Stepped his story and flow game up some, and was able to make GREAT songs for both sides. "B please" and "Party with a DPG" were great West flavored tracks, while "Down 4 my niggs" is one of the biggest South club hits of all time. Even tracks like "Ghetto symphony" were great to the NL fans at the time. Dre's return was great, and even though it wasn't Doggystyle level, folks loved their collabs.
Da Last Meal: Similar to Top Dogg...had great balance btwn regions, but focused even more on the West Coast tracks. He started to focus more on the Pimp side that ended up showing a lot more on other albums.
Paid the cost: The West had fell back off after a great 2001 year, and this album shows that he tried to mix the sound up and go towards the East Coast and regular commercial market more so than the East or West. Introduced Snoop + Neptunes which was a great move at this time, although the first single "From the chuuch" was bland. His flow sounded sharp on most tracks.
Rhythm & Gangsta: Realized how much success he had with The Neptunes and focused on working with them, and got tracks from them that each had a different vibe. "Drop it like it's hot" was a trendsetter, from the drums-only until the last bars in each 8 bar segment, along with the snare breakdowns in it.
Blue Carpet Treatment: Had a variety of sounds, but as a whole, was more on the West Coast and the 2006 commercial sound at the time. Dre's work was solid, but showed that their chemistry wasn't AS strong as it had been in the Last Meal/Top Dogg era. The Neptunes work wasn't nearly as strong as it was on the previous two albums, although they only had two songs. The current L.A. sound was shown with some of those slightly-off beat drums/instruments on tracks like "Crazy" "Gangbangin 101" and "Don't stop." "Candy" was obviously a response to the Hyphy movement, which was actually running L.A's club scene at the time.
Ego Trippin: The QDT (Quik Dogg + Teddy) sound made it's debut, but didn't have the impact they all hoped it would. Scoop made an incredible club track in "Life of the party" which was the almost perfect track...one of the few L.A. club songs before the Jerkin movement that sounded like it was from L.A., yet appealed to everyone. The album lacked focus as a whole, and it showed that Snoop was a bit lost at the time on what direction to go. "Sexual eruption" was huge, and it was as much of a trendsetter as it was a response to the Pop sound moving in that 120 BPN "Euro" sound. Plenty of rappers tried this sound after Snoop, but none had success. In a way, it showed Snoop's bravery or even his "I'll put out ANYTHING I want" which he's always been lucky to have, but it also went along with that "Snoop doesn't care and we don't take him serious" attitude that plenty fans seem to have.
Malice in Wonderland: Some tracks were an obvious response to Jerkin, which was HUGE in L.A. at the time and was making noise nationwide. "I wanna rock" used similar elements from "Life of the party" but focused on being a Jerk track, and he mentioned Jerkin on 3-4 songs on there. Tracks like "Pronto" were also his usual attempt at making a "hot" trendy song.
Doggumentary: Similar to his previous albums, mixed it up with West Coast album cuts along with trendy attempts for singles, mainly in "Wet" "Boom" and "Platinum." Some songs felt straight from Tha Eastsidaz era, such as "Wonder what it do" "We rest in Cali" "El Lay" and even "This Weed iz mine." Tracks like "Gangbang rookie" showed that hybrid East-West type production that he's used a few times such as on "Ups and downs" from R&G.
started off w/ the jackson 5. you've heard all of the best material from this era, b/c all the best material was released as a single.
but the first 3 or 4 jackson five albums actually work as albums... they have lots of motown covers of songs like "my girl" and the have MJ handing in credible covers of songs like "la la means i love you" (i prefer it to the delphonics) and "ready or not" (i'm on the fence about that one.)
after MJ's voice started to change, the MJ pretty much wandered through the wilderness on motown... too much buble gum, too much stuff that sounded like attempts at broadway tunes....
just some really godawful tunes.
but there are some notable exceptions. "one day in your life," is one of my favorite MJ tracks. is a real tear jerker. it has taken on greater significance now that he's gone.
SEE ALSO: "looking through the windows."
SEE ALSO: "when i come of age." (this song is striking b/c he's talking about all of the wonderful things he does when he grows up, as he implores the woman of his dreams to wait until he gets older so that he can express the deep feelings he has for her already. i am certain he is singing to diana ross.
it's extra striking because obviously, he never got with diana ross, and the problems that MJ faced as a result of being an old soul in a little body plauged MJ until the day he died.)
the transition point for jackson 5 MJ into adult MJ was "shake your body down to the ground."
he had finally grown into his adult voice, he finally had some great material to showcase that voice, and his adult voice shows all of the gulps and hiccups that we would grow to love.
after this, we get to OTW and Thriller. i won't rehash these albums b/c we are all familiar with them, but i will encourage folks to check out "triumph" which is a jacksons album he released that appears to be forgotten about.
"heartbreak hotel" you know, but what about the gripping balad, "time waits for no one." great stuff.
by the time he got to "bad," he was still releasing great singles, but they weren't as universal as the singles from "off the wall" and "thriller."
i'm sure you've heard it, no need to talk about it.
MJ recurited teddy riley to help him craft a new sound for dangerous. it was a great album, but the problem with it is that the vocal hiccups that were once charming are sometimes annoying at this point.
also, most of the save the world songs he released aside from "man in the mirror" are pretty dreadful.
it's more consisant than bad, but nothing on it is as great as OTW.
after the child molstestation charges, MJ still made great music, but a lot of his albums were too long.
that being said, he still had hot fire on every album. even though his uptempo songs sounded dated, he could still rip a ballad a new asshole.
stand-out cuts from his "past his prime" era:
"heaven can wait"
"break of dawn"
"stranger in moscow."
he also had a few tracks that were tesimonies to his paranoia.
the most powerful one was "morphine," his song about drug addiction. it sounds like a nine inch nails song.
i also dig "is it scary."
all MJ fans should track down the short film for "ghosts." it's one of the best videos he's ever done.
7. "not sure about some of this" In response to Reply # 5
>b/c all the best material was released as a single.
i dunno about this - something abotu it feel wrong. i'mma go check
>but i will encourage folks to check out "triumph" which >is a jacksons album he released that appears to be forgotten >about.
agreed its worth checking, but no mention of "can you feel it"?
as an HBCU grad I'm obligated to mention that song is great
>"heartbreak hotel" you know,
>also, most of the save the world songs >he released aside from "man in the mirror" are pretty >dreadful.
earth song is the oddest mix of cheese and jammin ever. by the time the choir part starts he has taken that song to someplace powerful. i'd argue it is better than "man in the mirror" and more effective in the "anthemic-michael" group
the problem was were were tired of "save the world songs" and that one got caught int he backlash
...and thats not even to get into "they don't really care about us" and how it pissed off certain power brokers leading (i believe) directly to his career downfall
>it's more consistent than bad, >but nothing on it is as great as OTW.
"remember the time", "in the closet", maybe even "Jam" would disagree as begin at least equal to some of the weaker OTW songs ("get on the floor", "burn this disco out", "girlfriend")
8. "RE: not sure about some of this" In response to Reply # 7
>agreed its worth checking, but no mention of "can you feel >it"? > >as an HBCU grad I'm obligated to mention that song is great >
oh yeah. i was typing fast and i had to break out for lunch. plus, i was assuming most folks knew that record.
>>"heartbreak hotel" you know, > >"this place"? >
it depends on which copy of the album you have. the original title was "heartbreak hotel." but the elvis folks made some kind of stink about the title, so it was changed to "this place hotel" on subsequest reissues.
the copy i have has "this place hotel" printed on the album jacket, but "heartbreak hotel" printed on the actual record label.
>earth song is the oddest mix of cheese and jammin ever. by the >time the choir part starts he has taken that song to someplace >powerful. i'd argue it is better than "man in the mirror" and >more effective in the "anthemic-michael" group
i agree 100 percent. the video for earth song had me on the verge of tears when i saw it in HD. and the "this is it" version is amazing.
that's why i said most... "earth song" is just it.
especially when i get to the bridge.
>>>it's more consistent than bad, >>but nothing on it is as great as OTW. > >"remember the time", "in the closet", maybe even "Jam" would >disagree as begin at least equal to some of the weaker OTW >songs ("get on the floor", "burn this disco out", >"girlfriend") >
get on the floor is my jam forever. i love remember the time, but nah...
i will admit some stuff on dangerous is better than girlfriend, but i love me some OTW.
it's my favorite album of all time, which is saying a lot. lol
11. "great cuts for sure..." In response to Reply # 10
but they're not better than "i want you back," "abc," the love you save," "i'll be there," or "never can say goodbye."
that's why i said the albums are worth checking out, but i added the caveat that you won't find anything that is better than the jackson five songs you've already heard.
>without spending TOO much time on it, here are some examples >of cuts I consider more than throwaway from their first few >records: > >1969 - Diana Ross Presents..: > - Standing In the Shadows of Love (cover) > - I'm Losing You (cover) > >1970 - ABC: > - I'm the one you need > - Don't know why I love You (cover) > >1970 - Third Album: How Funky Is Your Chicken > >1971: Goin Back to Indiana: I Wanna Take You Higher > >