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>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
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