I think another thing to keep in mind is that Sittin on Chrome was made under pressure from the label for Ace to make another "Jeep Ass Nigguh". I read in an interview that he really wasn't too into the idea of it in the studio, but felt he should follow the 'sagely' advice of the label dudes.
To make another "Born to Roll" you mean? "Jeep" was the original version, which fit in with the rest of the material on Slaughtahouse and then it was remixed as "Born to Roll," which was a decidedly new direction for Ase.
Probably a mistake to keep talking abut it strictly as being West Coast influenced, as I think he also had been listening to some Miami bass when he came up with his new sound.
yeah, Born to Roll/Jeep Ass.
But my point was that - at least from the interview I read - was that the sound on "Sittin..." was more the label than him.
I think another thing to keep in mind is that Sittin on Chrome was made under pressure from the label for Ace to make another "Jeep Ass Nigguh". I read in an interview that he really wasn't too into the idea of it in the studio, but felt he should follow the 'sagely' advice of the label dudes.
To make another "Born to Roll" you mean? "Jeep" was the original version, which fit in with the rest of the material on Slaughtahouse and then it was remixed as "Born to Roll," which was a decidedly new direction for Ase.
Probably a mistake to keep talking abut it strictly as being West Coast influenced, as I think he also had been listening to some Miami bass when he came up with his new sound.
yeah, Born to Roll/Jeep Ass.
But my point was that - at least from the interview I read - was that the sound on "Sittin..." was more the label than him.
Honestly, I was more a fan of the beats on that album than anything else ("U Cant Find Me" was bangin). That was what, '95-'96? I was getting heavy into scratching around that time and if the beats outshined the MC then it became a record to cut to. That's kind of what happened with that record for me.
That said, I could see if he did some Hammer/UMC's/overnight G shit where the argument could be, but he was still rapping about Brooklyn and all that. To me, it was like Batmon said, a fusion of east and west.
It wasn't really a shock that he made that album. That was a transitional time right before the Puffy era came in. I didn't even think twice when I heard that it. It was like "oh, Ace moved out here and made this? ok.". I think dudes were trying anything to stay relavant.
Honestly, I was more a fan of the beats on that album than anything else ("U Cant Find Me" was bangin). That was around what, '95-'96? I was getting heavy into scratching around that time and if the beats outshined the MC then it became a record to cut to and that's kind of what happened with that record for me.
That said, I could see if he did some Hammer/UMC's/overnight G shit where the argument could be, but he was still rapping about Brooklyn and all that. To me, it was like Batmon said, a fusion of east and west.
It wasn't really a shock that he made that album. That was a transitional time right before the Puffy era came in. I didn't even think twice when I heard that it. It was like "oh, Ace moved out here and made this? ok.". I think dudes were trying anything to stay relavant.
Well, the Chrome album was summer 1995. Slaughtahouse was 1993, and this was back Master P convinced everybody that if they didn't put out an album every ten months then somebody else was going to get their money, so it wasn't really like he had been absent. I think he was probably just tired of languishing in relative obscurity (I didn't know him at all prior to "Born to Roll") and that made him receptive to the label's pitch to try something new.
The funny thing is, looking back, that style seems kind of passe for the time. Bad Boy was fully in ascent, there were a bunch of new styles coming out of New York and so there were definitely other directions he could have gone if he wanted to commercially revitalize himself, rather than uncomfortably embracing a sound that was on its way out.
To me that sounds better now than i imagine it would have at the time; compare to Kool G Rap's 4,5,6 which came out the same year, and imagine if he had tried to go in the same direction, modern NY filtered-bass mid 90s shit, it prob would have been overshadowed by G Rap right?
to me this album stands out and is real unique for new york rap from the period, which in some way makes it seem 'better' than it 'really is,' which sounds silly and meaningless but what i'm saying is context is a lot of the reason why this sounds like its 'held up' so well to me. Not that I claim to have heard it when it dropped, but it sounds more modern than 4,5,6 even if 4,5,6 is objectively 'better'
(and thus in some ways ase's rec is more interesting)
To me that sounds better now than i imagine it would have at the time; compare to Kool G Rap's 4,5,6 which came out the same year, and imagine if he had tried to go in the same direction, modern NY filtered-bass mid 90s shit, it prob would have been overshadowed by G Rap right?
to me this album stands out and is real unique for new york rap from the period, which in some way makes it seem 'better' than it 'really is,' which sounds silly and meaningless but what i'm saying is context is a lot of the reason why this sounds like its 'held up' so well to me. Not that I claim to have heard it when it dropped, but it sounds more modern than 4,5,6 even if 4,5,6 is objectively 'better'
Can you "cram" any more "quotation marks" into this "post"?
what do you guys say to the theory that those masta ace records were satirical?
Slaughtahouse was absolutely satirical. The skit in the classroom with the teacher telling the kids they need to get a glock 9mm? The title track? ridiculously tongue-in-cheek.
what do you guys say to the theory that those masta ace records were satirical?
That would be pretty crazy. Why was he over here in the first place? I always thought that by default he just ended up rapping over west coast beats, but if Delicious Vinyl pushed that whole project on him that changes things a bit.
Keep in mind this is a dude who started his whole career rapping with a paper mache dummy so who knows?
what do you guys say to the theory that those masta ace records were satirical?
"Please be serious"?
I think it's about as credible as all the little dudes circa 1998 trying to claim that Gangstarr's "The Mall" was intended as a satire of materialism in rap.
I think another thing to keep in mind is that Sittin on Chrome was made under pressure from the label for Ace to make another "Jeep Ass Nigguh". I read in an interview that he really wasn't too into the idea of it in the studio, but felt he should follow the 'sagely' advice of the label dudes.
Yes, Ace talked about this in an interview I did with him back when Disposable Arts was about to drop. He considers Chrome to be the "compromise" album, the one he did under label pressure to duplicate "Born to Roll" because "BTR" opened up a large west-coast audience he previously wasn't getting. He talked about how he'd come out west and hear "BTR" on every radio station that played hip-hop, and he'd be doing all these shows where he'd basically come out, do "BTR," and be done. So the label wanted to keep that shit going...Ace said Chrome was the first time he had consciously altered his sound to meet label expectations, and that he was disappointed in himself for doing so.
To me that sounds better now than i imagine it would have at the time; compare to Kool G Rap's 4,5,6 which came out the same year, and imagine if he had tried to go in the same direction, modern NY filtered-bass mid 90s shit, it prob would have been overshadowed by G Rap right?
to me this album stands out and is real unique for new york rap from the period, which in some way makes it seem 'better' than it 'really is,' which sounds silly and meaningless but what i'm saying is context is a lot of the reason why this sounds like its 'held up' so well to me. Not that I claim to have heard it when it dropped, but it sounds more modern than 4,5,6 even if 4,5,6 is objectively 'better'
Can you "cram" any more "quotation marks" into this "post"?
what do you guys say to the theory that those masta ace records were satirical?
Slaughtahouse was absolutely satirical. The skit in the classroom with the teacher telling the kids they need to get a glock 9mm? The title track? ridiculously tongue-in-cheek.
I'd rather hear an album full of west coast pandering in '95 than an album full of prince paul-style Paul Barman-skit-heavy 'concept album' bullshit about how wack the record industry is in 200whateverthefuck (then for his NEXT album, throws some 9th wonder beats on top!?? gtfowtbs)
[Keep in mind this is a dude who started his whole career rapping with a paper mache dummy so who knows?
And he was mad about that, too--he thought that shit was corny, but the label had basically strongarmed him on some, "If you don't make 'Me and the Biz' the first single, then there won't be any singles" kind of shit.
I gotta see if I still have that interview on my hard drive when I get home...he speaks on all of this shit really openly.
PS: "Slaughtahouse" was/is my shit. That is some seriously withering satire. Chainsaw in my holster!
what do you guys say to the theory that those masta ace records were satirical?
Slaughtahouse was absolutely satirical. The skit in the classroom with the teacher telling the kids they need to get a glock 9mm? The title track? ridiculously tongue-in-cheek.
Sure, but I don't think that's what Noz was referring to. His satirical intent was so clear there that I doubt Noz would call that interpretation a "theory".
Comments
Our man Tracy is originally from Joisey, and Afrika Islam did a lot of his production early on
"Whats going on" and "the inc ride" and "people in my hood" are esp. great
yeah, Born to Roll/Jeep Ass.
But my point was that - at least from the interview I read - was that the sound on "Sittin..." was more the label than him.
Eh... that's a stretch. Like claiming Tupac as a New York artist.
yep, this and many a redman joint has that bumpity bump west coast pfunk roll to it...with a just a touch of brick city.
The cipher is complete.
That said, I could see if he did some Hammer/UMC's/overnight G shit where the argument could be, but he was still rapping about Brooklyn and all that. To me, it was like Batmon said, a fusion of east and west.
It wasn't really a shock that he made that album. That was a transitional time right before the Puffy era came in. I didn't even think twice when I heard that it. It was like "oh, Ace moved out here and made this? ok.".
I think dudes were trying anything to stay relavant.
It should be mentioned that, speaking of real schitt reprezentativez, i believe t0m br3ihan is a cosigner of this album as well
I respect dude's work but I thought this album & everything after was just okay. Some dope singles. That's it.
Well, the Chrome album was summer 1995. Slaughtahouse was 1993, and this was back Master P convinced everybody that if they didn't put out an album every ten months then somebody else was going to get their money, so it wasn't really like he had been absent. I think he was probably just tired of languishing in relative obscurity (I didn't know him at all prior to "Born to Roll") and that made him receptive to the label's pitch to try something new.
The funny thing is, looking back, that style seems kind of passe for the time. Bad Boy was fully in ascent, there were a bunch of new styles coming out of New York and so there were definitely other directions he could have gone if he wanted to commercially revitalize himself, rather than uncomfortably embracing a sound that was on its way out.
"This is how we do it on the Brooklyn siiide...."
to me this album stands out and is real unique for new york rap from the period, which in some way makes it seem 'better' than it 'really is,' which sounds silly and meaningless but what i'm saying is context is a lot of the reason why this sounds like its 'held up' so well to me. Not that I claim to have heard it when it dropped, but it sounds more modern than 4,5,6 even if 4,5,6 is objectively 'better'
(and thus in some ways ase's rec is more interesting)
EpMD's production isnt West Coast biting.
Can you "cram" any more "quotation marks" into this "post"?
Slaughtahouse was absolutely satirical. The skit in the classroom with the teacher telling the kids they need to get a glock 9mm? The title track? ridiculously tongue-in-cheek.
records w/ faking the funk + dicked around by label politics >>>>> records complaining about faking the funk + dicked around by label politics
(aka m.a.'s last two records)
Interesting Theory. There are subtle touches of clownery on that album, but I still think he just was payin' attention to Dre & Snoop/MCEIht/& them.
That would be pretty crazy. Why was he over here in the first place? I always thought that by default he just ended up rapping over west coast beats, but if Delicious Vinyl pushed that whole project on him that changes things a bit.
Keep in mind this is a dude who started his whole career rapping with a paper mache dummy so who knows?
"Please be serious"?
I think it's about as credible as all the little dudes circa 1998 trying to claim that Gangstarr's "The Mall" was intended as a satire of materialism in rap.
Yes, Ace talked about this in an interview I did with him back when Disposable Arts was about to drop. He considers Chrome to be the "compromise" album, the one he did under label pressure to duplicate "Born to Roll" because "BTR" opened up a large west-coast audience he previously wasn't getting. He talked about how he'd come out west and hear "BTR" on every radio station that played hip-hop, and he'd be doing all these shows where he'd basically come out, do "BTR," and be done. So the label wanted to keep that shit going...Ace said Chrome was the first time he had consciously altered his sound to meet label expectations, and that he was disappointed in himself for doing so.
three sets of quotes in two paragraphs is a lot?
b/w
paltry trolling at best, 'plaese be serious'
Me & the Biz was like 5 years into his career.
Wha..? I'm not knowing then. I always thought that was his first "hit" record.
(I'm talking about his solo career post "Symphony")
And he was mad about that, too--he thought that shit was corny, but the label had basically strongarmed him on some, "If you don't make 'Me and the Biz' the first single, then there won't be any singles" kind of shit.
I gotta see if I still have that interview on my hard drive when I get home...he speaks on all of this shit really openly.
PS: "Slaughtahouse" was/is my shit. That is some seriously withering satire. Chainsaw in my holster!
http://www.discogs.com/artist/Master+Ace
Sure, but I don't think that's what Noz was referring to. His satirical intent was so clear there that I doubt Noz would call that interpretation a "theory".
But "Sittin' On Chrome"? I don't see it.