J Dilla The Shining

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Despite the erratic quality of his own group Slum Village's output, Dilla's consistently sharp production kept the flame alive for the soul-jacking, pop-friendly rap that would enjoy a resurgence with recently influential records by Common and Kanye West. A good hook, in other words, never goes out of style, and in a rap climate broad enough to allow for everything from deep-space funk to minimal snap music, Dilla's classicism acts as a control group amid more exotic strains.

His other release, Donuts , with its profusion of brief instrumentals, was his record for heads-- a glorified beat tape that put the raw stuff of his vision on enticing display. In contrast, The Shining is more of a general audience record, by virtue of its song-length tracks and pervasive vocals from Dilla and his crew. As such, it presents challenges that Donuts didn't.

On a beat tape, you can make your point in a few bars and move on to the next boom-bap, but an album wants structure and continuity. Dilla imposed this structure upon The Shining by two primary methods, with varying levels of success. The first was by cultivating a sense of unified variety, and this is where The Shining truly excels-- it's a great digest of Dilla's various moods and modes. Tuesday 14 May Wednesday 15 May Thursday 16 May Friday 17 May Saturday 18 May Sunday 19 May Wednesday 22 May Thursday 23 May Monday 3 June Tuesday 4 June Wednesday 5 June Thursday 6 June Friday 7 June Saturday 8 June Sunday 9 June Monday 10 June Tuesday 11 June Wednesday 12 June Monday 17 June Tuesday 18 June Wednesday 19 June Thursday 20 June Saturday 22 June Sunday 23 June Monday 24 June Tuesday 25 June Wednesday 26 June Thursday 27 June Friday 28 June Saturday 29 June Sunday 30 June Monday 1 July Tuesday 2 July Wednesday 3 July Thursday 4 July Friday 5 July Saturday 6 July Sunday 7 July Monday 8 July Tuesday 9 July Wednesday 10 July Friday 12 July Sunday 14 July Monday 15 July Tuesday 16 July Wednesday 17 July Thursday 18 July Friday 19 July Saturday 20 July Sunday 21 July Monday 22 July Tuesday 23 July Wednesday 24 July Thursday 25 July Friday 26 July Saturday 27 July Sunday 28 July Monday 29 July Tuesday 30 July Wednesday 31 July Thursday 1 August Friday 2 August Saturday 3 August Sunday 4 August Monday 5 August Tuesday 6 August Wednesday 7 August Thursday 8 August Friday 9 August Archived from the original on August 28, Retrieved Please refresh your browser or go back.

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According to J Rocc of the Beat Junkies , Dilla's original idea for the cover of The Shining was to use a photograph of him wearing the CPAP mask used to treat his Thrombotic thrombocytopenic purpura at the time; The cover used instead was chosen after his death before the album's completion.

J Dilla was known for being experimental, which influenced contemporary musicians [ who? Because he usually chose to enter beats manually on a drum machine rather than quantizing, he developed a behind the beat style [ clarification needed ] that has caught on with young jazz musicians who are now incorporating it into their music as well.

At the time of its release, The Shining was widely considered J Dilla's last opus as it showcased his broad set of talents, showcasing his ability to create distinct beats that would complement each performer that he worked with.

The album showed off the growth that he made before his passing by showcasing his experimental nature in different ways throughout this album. It ranked at number 35 on Spin ' s "40 Best Albums of " list. Unless otherwise indicated, Information is based on Liner notes [19]. From Wikipedia, the free encyclopedia. Retrieved December 12, The A. Pitchfork Media. Rolling Stone. Archived from the original on February 11, Stylus Magazine. Archived from the original on August 28, Retrieved Please refresh your browser or go back.

Archived from the original on November 24, BBE Records. Today: Pop Culture. Music Is My Sanctuary. The first was by cultivating a sense of unified variety, and this is where The Shining truly excels-- it's a great digest of Dilla's various moods and modes.

We get sumptuous neo-soul: "Love" recreates the Impressions' "We Must Be in Love" as a crackling swoon punched up with hearty brass, while "Baby" uses sped-up infant samples as bold, primary-color accents for its supple pastels.

And we get straight-up trunk-rattle: "Jungle Love" laces wowing sirens over skeletal trash-compacter percussion, while "Body Movin'" carves up a cymbal-heavy wash with off-kilter squelch and abrupt vocal drops. The Shining 's second layer of structural integrity resides in the guest vocals that dominate the album.

Many of the record's guests also rose to prominence in the s, though none of them remind us how much hip-hop has changed since then more starkly than Busta Rhymes: The guy who once had one of the most bugged-out flows in rap squanders "Geek Down" with thuggish, boring ad-libs that pay homage to the "fucking godfather Dilla" while contradicting the essence of his playful spirit.

MED and Guilty Simpson spit nails that are well-suited to the junkyard jangle of "Jungle Love", while Black Thought mounts a commanding presence amid the overlapping click-tracks of "Love Movin'". Dilla embeds his own utilitarian rhymes in the deep digital swirls of "Won't Do", and while they don't add much force to the track, they pretty much stay out of the way. Staying out of the way was one of Dilla's assets-- one hears his productions, first and foremost, as songs, not as stylized renditions of his brand.

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