Choon of the Day

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Corpsey

Corpsey

bandz ahoy
yyaldrin said:
developing a strange obsession with this musician. this one sounds like enya - orinoco from a parallel universe

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This is astounding

A lot of really great stuff gets lost in the shuffle on this thread, the unforeseen downside of my genius concept
 
Corpsey

Corpsey

bandz ahoy
version said:
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Love Legowelt. For some reason I can very easily imagine a daytime drug session in a marquee to this song. Glorious abandon as you chug from a bottle of spiked lemonade.

I think it's the way he's playing with filters, so the sounds seem to be slipping and changing in scale and texture. The quasisexual sensusal tingles of MDMA.
 
Corpsey

Corpsey

bandz ahoy
craner said:
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You are the sole advocate for Sunz of Man, Killah Priest, etc. and I value your service.

Cos this choon is good. I love the cheap synth sound and dissonant little (bells/pianos?).

Reminds me of listening to Gravediggaz back in my rap infancy.
 
Corpsey

Corpsey

bandz ahoy

Migos thread jogged my memory

I loved this Travis Porter mixtape that this track featured on. Not listened to it since. What is Travis Porter's relationship vis Migos? The trio who shoulda vs the trio who dida?

This beat is as minimal and casio as it gets.

R.I.P. Bankroll Fresh
 
T

thirdform

pass the sick bucket
Corpsey said:
The accordian might be the worst instrument. This choon minimised the impact of the accordian but it was still there the whole time, foulling the air. If I hear an accordian when I'm out at a club I will leave the room instantly in disgust, and on the walk home throw a brick through a kebab shop window.
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Racist cunt. Why can't Brits admit that for all their furor about being the ultimate mecca of drinking culture they are shit at drinking?
 
F

forclosure

Well-known member
first Vik Vaughn album is still probably my favourite thing Doom ever did, really imaginative writing




"maybe next life, he try harder" has turned into a mantra for me last couple years
 
Leo

Leo

Well-known member

Martha Wash deserves love...

Martha Wash was sitting in a Los Angeles hotel room, furious and confused. It was late 1990 and the singer, relaxing before a show that night, had decided to unwind with some channel surfing. She stumbled upon a new music video by Italian house group Black Box, whose synth lines, horn stabs and pulsating, club-tailored drum patterns had already made them dance music stars. When the song’s vocals kicked in, she was shocked to see French model Katrin Quinol, the ex-girlfriend of founding member Daniele Davoli, bending over and crouching in a unitard, lip-syncing Wash’s vocals to the eventual hit “Everybody Everybody.”

“I said to myself, ‘I don’t believe this shit is happening again,” says the now 60-year-old Wash. “I called my manager and said, ‘I just heard myself on TV in a video.'”

“Again” is the operative word, as just a few months prior, Wash heard her ostensible demo vocals being lip-synced by singer Zelma Davis in the video for C+C Music Factory’s monstrous club hit “Gonna Make You Sweat (Everybody Dance Now).” A frustrating cultural conundrum had taken effect: Martha Wash’s voice was famous, but she wasn’t.

Wash is very likely the most famous unknown singer of the Nineties; a powerful, gospel-weaned belter who first earned fame as a backup singer for disco king Sylvester before forming the disco-pop duo the Weather Girls and recording the camp classic “It’s Raining Men.” In the early Nineties, however, Wash’s booming, powerhouse vocals could be heard on the world’s most ubiquitous dance songs, from Seduction’s “(You’re My One and Only) True Love” to Black Box’s “Strike It Up” and “Fantasy” to C+C Music Factory’s aforementioned Number One hit. At one point in 1991, Wash battled herself on the Billboard Hot Dance Club Songs, as “Gonna Make You Sweat” and Black Box’s “I Don’t Know Anybody Else” both bounced around the Top 5 for weeks on end.
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https://www.rollingstone.com/music/...-unknown-singer-of-the-90s-speaks-out-231182/
 
Corpsey

Corpsey

bandz ahoy

Don Blackman - Holding You, Loving You

First heard this via People Under the Stairs sampling it. ('Give Love a Chance'.)

It's utterly sublime, I'm bound to say. The clarity and punch of the bass against the dreamy wash of strings. B-e-a-iuuutiful.
 
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