Well, in all fairness though, from everything I've read about the De La album sessions, much of the sample-age was a group effort between the different members, especially Pos. I think Paul tends to get too much credit insofar as people assume it was all him and that tends to exclude the contributions of the other group members.
PRINCE PAUL WAS SAMPLING COMPLETELY DIFFERENT SOUNDS WHEN NEARLY EVERYONE ELSE IN THE GAME WAS STILL STUCK ON JAMES BROWN AND HIS DISCIPLES
"BRA" "SATURDAY IN THE PARK" HALL & OATES BILLY JOEL "EN MELODY" "GAME OF LOVE" "PEAS PORRIDGE"
that's not like transitioning from JB to willie mitchell or the meters or rick james. that is completely changing the game. and you know when paul did use conventionally sampled songs or artists, he always did it in a completely new way. in other words...
Well, in all fairness though, from everything I've read about the De La album sessions, much of the sample-age was a group effort between the different members, especially Pos. I think Paul tends to get too much credit insofar as people assume it was all him and that tends to exclude the contributions of the other group members.
I don't doubt this, although the consistency of his sound when working with other artists, and the wackness of the few beats I've heard De La members produce for other artists, says a lot.
Well, in all fairness though, from everything I've read about the De La album sessions, much of the sample-age was a group effort between the different members, especially Pos. I think Paul tends to get too much credit insofar as people assume it was all him and that tends to exclude the contributions of the other group members.
I don't doubt this, although the consistency of his sound when working with other artists, and the wackness of the few beats I've heard De La members produce for other artists, says a lot.
I can't say De La's outside production (for others I mean) has been that great but then again, I never felt like Prince Paul's Handsome Boy work was up to par with earlier noodlings.
And I was responding directly to the idea that Paul was a genius b/c he was picking out samples no one else was fucking with. I heartily agree with this - TO AN EXTENT - but as noted, he gets overcredited b/c few seem to realize that the production sessions with De La tended to be collaborative affairs. What Paul was able to do was bring it all together and I think he deserves all the credit for being a very good producer in that regard.
Well, in all fairness though, from everything I've read about the De La album sessions, much of the sample-age was a group effort between the different members, especially Pos. I think Paul tends to get too much credit insofar as people assume it was all him and that tends to exclude the contributions of the other group members.
I don't doubt this, although the consistency of his sound when working with other artists, and the wackness of the few beats I've heard De La members produce for other artists, says a lot.
I can't say De La's outside production (for others I mean) has been that great but then again, I never felt like Prince Paul's Handsome Boy work was up to par with earlier noodlings.
And I was responding directly to the idea that Paul was a genius b/c he was picking out samples no one else was fucking with. I heartily agree with this - TO AN EXTENT - but as noted, he gets overcredited b/c few seem to realize that the production sessions with De La tended to be collaborative affairs. What Paul was able to do was bring it all together and I think he deserves all the credit for being a very good producer in that regard.
Gotcha... similar to how Chuck D's production input on It Takes a Nation of Millions was apparently understated for many years.
PRINCE PAUL WAS SAMPLING COMPLETELY DIFFERENT SOUNDS WHEN NEARLY EVERYONE ELSE IN THE GAME WAS STILL STUCK ON JAMES BROWN AND HIS DISCIPLES
"BRA" "SATURDAY IN THE PARK" HALL & OATES BILLY JOEL "EN MELODY" "GAME OF LOVE" "PEAS PORRIDGE"
I'm with you re: Prince Paul's awesomeness, but "Bra" doesn't belong on that list. That was a certified break classic pretty much from the first days of rap. It was such a sure-shot, in fact, that Jazzy Jay flipped it for retro effect on Busy Bee's "Old School"...a full year before "3 feet High and Rising".
Well, in all fairness though, from everything I've read about the De La album sessions, much of the sample-age was a group effort between the different members, especially Pos. I think Paul tends to get too much credit insofar as people assume it was all him and that tends to exclude the contributions of the other group members.
I don't doubt this, although the consistency of his sound when working with other artists, and the wackness of the few beats I've heard De La members produce for other artists, says a lot.
de la's entire sound changed, and in my opinion, they kind of fell off, after paul left. Oli, i don't doubt that you've heard a better deal of insider info on de la's recordings, but the difference in the music that they made before and after paul left, to me, is evidence enough to his considerable contribution to their sound... and the man's genius behind the boards (even if it has been sporadic since the mid-90s).
Well, in all fairness though, from everything I've read about the De La album sessions, much of the sample-age was a group effort between the different members, especially Pos. I think Paul tends to get too much credit insofar as people assume it was all him and that tends to exclude the contributions of the other group members.
I don't doubt this, although the consistency of his sound when working with other artists, and the wackness of the few beats I've heard De La members produce for other artists, says a lot.
de la's entire sound changed, and in my opinion, they kind of fell off, after paul left. Oli, i don't doubt that you've heard a better deal of insider info on de la's recordings, but the difference in the music that they made before and after paul left, to me, is evidence enough to his considerable contribution to their sound... and the man's genius behind the boards (even if it has been sporadic since the mid-90s).
I didn't think "Stakes is High" was bad at all, production-wise. The AOI era is a different story but that was also four years later, by which time, Paul's production steez had also changed. I don't think there's ANY guarantee that had they continued to work together, the sound quality would have remained as good as it did on the first three albums.
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I don't doubt this, although the consistency of his sound when working with other artists, and the wackness of the few beats I've heard De La members produce for other artists, says a lot.
I can't say De La's outside production (for others I mean) has been that great but then again, I never felt like Prince Paul's Handsome Boy work was up to par with earlier noodlings.
And I was responding directly to the idea that Paul was a genius b/c he was picking out samples no one else was fucking with. I heartily agree with this - TO AN EXTENT - but as noted, he gets overcredited b/c few seem to realize that the production sessions with De La tended to be collaborative affairs. What Paul was able to do was bring it all together and I think he deserves all the credit for being a very good producer in that regard.
Gotcha... similar to how Chuck D's production input on It Takes a Nation of Millions was apparently understated for many years.
you're right, it's a great album!
I'm with you re: Prince Paul's awesomeness, but "Bra" doesn't belong on that list. That was a certified break classic pretty much from the first days of rap. It was such a sure-shot, in fact, that Jazzy Jay flipped it for retro effect on Busy Bee's "Old School"...a full year before "3 feet High and Rising".
de la's entire sound changed, and in my opinion, they kind of fell off, after paul left.
Oli, i don't doubt that you've heard a better deal of insider info on de la's recordings, but the difference in the music that they made before and after paul left, to me, is evidence enough to his considerable contribution to their sound... and the man's genius behind the boards (even if it has been sporadic since the mid-90s).
indeed. i was expanding on your point in response to the birthday boy... fixed
I didn't think "Stakes is High" was bad at all, production-wise. The AOI era is a different story but that was also four years later, by which time, Paul's production steez had also changed. I don't think there's ANY guarantee that had they continued to work together, the sound quality would have remained as good as it did on the first three albums.