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And throughout his back catalogue, this is where he really nails it. The use of Father Children’s Dirt and Grime as the bookmarks on the otherwise weaker Facts is used to direct mood. Pitchfork described it as a dancehall remix of Pachabel’s Canon, which isn’t far off point. Hearing the new discovery, I couldn’t have imagined such a brilliant rework. The exuberant sampling of Sister Nancy’s Bam Bam made me search for the original. That Fade sample works for the exact same reason. It blurred cultural understandings of music. When I hear the Arthur Russell sample on 30 Hours, I am as taken aback as when I first heard Stevie Wonder’s As in a club. I want to discover music and find new ways of hearing things. I’ve realised with TLOP that that love for Kanye is the same reason I love my favourite DJs. The other great release of 2016 so far: Moodymann’s DJ Kicks does the exact same thing. Yet each Kanye release that has come out, has been a new exploration of sounds and styles brought together in a beautiful way. Twelve years later, my cultural horizons have fortunately expanded.
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Yet as one music nerd hearing another, I trusted my lesson implicitly. His life and background were so far detached from mine. There, race was entirely conceptual, but Kanye made it easy to enter this world in a tangible way. His depth of his knowledge as a music nerd was clear. It’s that I saw something in how he produced music. And the guy wore a polo.īut it wasn’t that there was some slight surprise in the way he arranged lyrics or the chothes he wore. The lyrics seemed more clever than what I had expected from rap. Kanye was the perfect musical history teacher. RnB, soul, gospel, jazz, funk, and this entire history of black music were suddenly introduced to me in an incredibly powerful way. I hadn’t heard of Teddy Pendergrass or Luther Vandross. Before those records, I didn’t listen to Curtis Mayfield or Al Green.
KANYE LIFE OF PABLO COVER REGISTRATION
Kanye on The College D ropout and Late Registration introduced me to soul and funk. I slated electronic music, most hiphop, and anything that wasn’t real music. When I got into Kanye West at 15 or 16, I had a very white (indie)rock background. This moment of delight with sampling, is where Kanye West eats. I had never imagined an acid bassline, which I had previously only heard in darkened clubs, as the perfect beat for hiphop.
When the Larry Heard sample drops in Fade, I went a bit giddy.