Dilla (then known as Jay Dee) nicks the rising wave of synths and helps send them into the stratosphere for the chorus of this slice of underground hip-hop/R&B gold. On “Climax,” from Slum Village’s 2000 masterpiece Fantastic Vol. Here you have a case of two of the greatest minds in hip-hop production showcasing their excellence in the ability to recognize and manipulate tone, and then flip it for their MCs to tear up with seamless ease. “Space Intro” ( Fly Like an Eagle, 1976) > “Climax (Girl Shit)” by Slum Village, “In the Flesh” by Pete Rock and CL Smooth Surely Miller himself was none too happy to see his song transformed into an anthem of ghetto erotica, but the beat remains one of Rubin’s finest hip-hop creations.įurther Listening: Shaggy’s “Angel,” Electric Light Orchestra’s “Summer and Lightning” Scarface hijack the hook to SMB’s most popular song, lift one of Miller’s most popular lines from it as the chorus and proceed to go into great detail about sexual conquests you’d normally need go behind a black velvet curtain in the local video store to read about. “Our manufacturer and distributor, however, do not condone or endorse the content of this recording, which they find violent, sexist, racist, and indecent.” And on perhaps the album’s most lascivious cut, doctored by Rubin and his then-protégé Brendan O’Brien (Pearl Jam, Bruce Springsteen, Blackberry Smoke), Willie D., Bushwick Bill and Mr. “Def American Recordings is opposed to censorship,” stated the sticker that appeared on retail copies of The Geto Boys. But when the label signed on to release this eponymous remix album comprised of material from the first two albums of Houston hardcore-rap pioneers the Geto Boys, Rubin’s distributor, Geffen Records, and CD manufacturer, Sony Digital Audio Disc Corporation, were none too happy with having their names attached to the LP. “The Joker” ( The Joker, 1973) > “Gangsta of Love” by Geto Boysīack in 1990, Rick Rubin was enjoying his time stirring up the status quo by amassing a great cache of controversial recordings for his burgeoning record label Def American, including classics by Slayer, Danzig and Andrew “Dice” Clay. But those paying attention noticed that Norman Cook had built his massive “Praise You” beat around a sturdy SMB epicenter: the funky Fender Rhodes groove buried beneath the Deep Purple lite of the song that directly follows “Quicksilver Girl” on Side Two of Sailor, which Slim kicked into high gear right at the drop of the best damn song of 1998. Most might remember Fatboy Slim’s most popular hit for that goofy dance troupe–flash mob in the Spike Jonze video. “Lucky Man” ( Sailor, 1968) > “Praise You” by Fatboy Slim
This fan favorite from alt-folk great Gillian Welch’s 2001 LP Time (The Revelator) contains the genius lyric ” I do not remember any goin’ wrong/Just a record playin’ that old Steve Miller song,” after which Welch and guitarist David Rawlings break into the refrain from this key track off SMB’s most out-there record, naturally blending it with the hypnotic fingerpicking of their own magnificent song. “Quicksilver Girl” ( Sailor, 1968) > “My First Lover” by Gillian Welch As longtime SMB fans rejoice over the singer’s overdue induction into the Rock and Roll Hall of Fame, we review some of the more inventive infusions of this legendary and innovative group’s material into other artists’ songs.
Likewise, the Steve Miller Band have seen their own music creatively repurposed, not only as a popular source for hip-hop since its late Eighties–early Nineties Golden Age, but also within the realms of dance music and even folk. The Beatles in India: 16 Things You Didn't Knowįlashback: Tina Turner Covers Dolly Parton, Kris Kristofferson on Debut Solo Album
0 kommentar(er)
