Dj little man part 2 crack#

I don't know what we were out there for, but I'll never forget him, Stephen Hill, and they took us to, I forget what club this was, but TCB was there and they played this record called 'Bait,' and oh my goodness. Wale, I don't know, man, this might have been eight years ago, nine years ago, 10 years ago. But I mean, and it's changed and evolved so much since then. Then there was Da' Butt with 'E.U.' I mean, we look at it a little different, you know what I'm saying? But you got to give it its credit and Spike Lee, thank you to him for pushing that record. He had one called 'The Water Dance' that was pretty big too. 'Let Me Clear My Throat,' which wasn't really go-go, but it was still him. Shout to Chuck Brown and the Soul Searchers. Okay, 'Bustin' Loose' really was a big record.

Dj little man part 2 crack#

Listen, I've never been able to crack the case. Is it because it's such a specific rhythm or it's about the club or the venue or the dancing? Certain people, I guess Wale, people from DC have tried to champion it, but I don't know if there's ever been a music that's so vibrant in this one place that just doesn't seem to travel out. Obviously, I hear the influence and stuff that you've done. It's crazy actually when you say it, when you talk about Trouble Funk and go-go and stuff. We going to drop the bomb, let know that.' They're talking about the punk guys.Д«y the way, to anybody that's listening that has never heard of Trouble Funk, you have to hear 'Drop the Bomb.' It's the most alien, space, African, really from another fucking planet genius, really fucking genius, genius, genius, shit ever. Literally, when you hear them saying, 'We're going drop the bomb on the white boy crew, drop the bomb, drop the bomb. Pharrell Williams: Dude, the funny thing is the 9:30 Club was a place where people like Bad Brains would play, no bullshit, and then Trouble Funk would play the next night.

Was any of that punk, 9:30 Club type stuff an influence on you? Or did it filter down somehow? Mark Ronson: I had never really thought about that and I guess because I'm just thinking of that Kanye quote, but the punk part, I had never thought, because I obviously DC is thought of as this Mecca for Punk and DC is pretty close to Virginia Beach and stuff. I thought I might venture the theory that it had something to do with Chad and Pharrell's close proximity to the DC area and the 9:30 Club, essentially the Mecca of East Coast punk music. I really have no idea what inspired it, but I've always been so impressed by it. It's what made their music actually so damn tough, this ballsy atonality that laid the foundation for these pop bangers.

In fact, I don't think anyone else has ever managed to make so much out of so little, to somehow craft iconic melodies, beats, and hooks over such nasty, I mean that in a good way, punk influenced chords structures. 'Hella Good,' Justin Timberlake, 'Pass the Courvoisier,' 'Lap Dance.' It's atonal, it's non-musical, yet somehow miraculously the Neptunes managed to make it the foundation of some of the biggest pop records of all time. When you play it in chords, it sounds like punk. When you do it in single notes, it sort of sounds like Jaws. The half step is a musical term for when you go up one note on the chromatic scale. Punk can be a lot of things, attitude, aggression, feel, but in the case of the Neptunes, it's musical and it's a real signature of their sound. But the punk side of things cannot be overlooked either. At the end of part one, we touched on a Kanye quote that really struck me when he referred to the Pharrell and Neptunes sound as 'gospel punk.' I even took to the keys to dissect the chord sequences of tunes like 'Drop It Like It's Hot' and 'You Don't Have To Call,' just to show how gospel-influenced they are.