Deniece Williams "Silly" Could Teach My Generation

By Amir Ali Said

Today's the first day that I heard "Silly" by Denise Williams. It's such a beautiful song. The way that Denise Williams sings engages the listener. Even how the song starts off, the vocals don't come in until around the 30 second mark; instead, it's a slow, up-tempo, cool melody to introduce the song. After 30 seconds in, Denise Williams comes in with the vocals in a low pitch tone. She sings her verse and then goes into the change during the hook.

"Silly" is a nice, mood-swinging song. Meaning, however you were just feeling the songs just takes you on a journey. Deniece Williams' singing helps the song move along. The way her voice moves in out of the beat engages the listener more than anything. She easily changes the pitch of her voice, both subtly and aggressively when she needs to.

Even though I'm 13 years old, music like this will always stick with me. Other kids in my generation will listen to Beyonce or Rihanna but I find refuge in listening to Aretha Franklin and Gladys Knight. I think that if kids in my generation were to listen to the music I listen to they would like it. I also think that would change the way other kids in my generation think, thereby creating offsprings of children who preserve this kind of music. But instead music like this isn't played in rotation over the radio or on Ipod's. Here's a song that could be used as well.
Below is "Silly" - Deniece Williams.

"Thats What You Get For Being Polite;" Jackson 5

By Amir Ali Said

One of my favorite songs is "That's What You Get for Being Polite" by the Jackson 5. I first heard the song last year with Pop, while we were writing. The song is dope. Usually, whenever Pop and I drive somewhere, we'll listen to this song at least once. We listen to this song all the time. Michael Jackson sets off the song and creates the mood. He's singing passionately, and if you listen to the lyrics, I think he's talking about himself.

The Jackson 5 was a great group. The song "That's What You Get for Being Polite" illustrates the group in its prime. The way the Jackson 5 sing in this song shows how great this family of singers were. The harmony and togetherness of the Jackson 5 is certainly on display.

Duffy and Adele Less Foriegn Than R&B Singers Today

By Amir Ali Said

Black American Soul Music doesn’t exist today. Well it does, just mostly not in America, it seems to be widespread in London. So called R&B singers, don't sing like the Black American Soul singers from 30 years ago. For example, Gladys Knight, Curtis Mayfield, and Aretha Franklin, just to name a few. This soul music personifies what Black American Soul music is all about. Black American Soul Music is about pain, struggle, perseverance, joy, unique sound, and a real singing voice. These are things that separate Black American Soul Music from then and now.

R&B Singers today, like Rihanna and Beyonce have okay voices and they sing nothing like Black American Soul Music from yesterday. Now on the other hand, it seems like Duffy and Adele pay homage to Black American Soul music. In fact, emulating it. They're paying tribute to Black American Soul! R&B singers today don't take advantage of their history or their natural black soul.

Finally, R&B singers today must stop this nonsense. They’re not recognizing their heritage and they're just throwing it away. They have a choice and they should use their natural black soul.

With Homeschool, the Good Days Keep On Coming

By Amir Ali Said

A couple years ago, probably around the 6th grade when I got my first iPod—the iPod shuffle, I would listen to, "Today Was A Good Day" by Ice Cube. I don't know why at that time I liked that song so much, but I listened to it a lot. Sometimes, even on the train ride to school. The song just kept me moving and focused. But anyway, "Today Was A Good Day", for the right reasons.

I woke up at around 11:30 A.M. today after a good sleep. Man was I tired. After waking up I walked over to my desk and sat down. Wiped my face a little bit and begun reading Pop's article on BeatTips.com. It was good. You've got to check out that article. Then I began my first component of reading, A Tale Of Two Cities of course. Did it get any better? No, it got much better. Back to my day, after reading about 15 pages of A Tale of Two Cities I took a slight brake and headed over to SI.com (Sports Illustrated), I read a couple articles over there, especially the one about Pete Carrol's impact on recruiting for the 2010 college football season. After reading that article, I began reading again, yea its hard to put A Tale of Two Cities down.

After reading some more of A Tale of Two Cities I went and had lunch. While I ate Pop and I watched "Test Pilot," another great classic movie from Turner Classic Movies. Crazy thing is that we missed one hour of the movie and it was still great. One line from the movie was funnier and better than "The Hangover." But I'll devote another article to both films. After the movie, I had my screening. Today I watched "Vertigo," a Alfred Hitchcock classic starring James Stewart. Another article. What's the article count now? Anyway, after my screening Pop went and got a very delectable dinner, steak fajitas. That food was realll good (3 l's needed.) Only problem was Pop got these humongous tortillas, I could only have one and half. But that should hold me for about 10 hours, not including when I'm sleeping. So as you can see I had a good day. Now that I'm homeschooling, there will be a lot more like it.

Making Beats With Pop

I always liked making beats with Pop. It's a lot of fun and I learn a lot. Also, I get to help him. He teaches me how to sample, which I find really helpful. I like samples just as much as Pop. And sometimes when Pop is making a beat he'll let me play. He might let me add something to his beat, or allow me to make my own beat, and I get to practice using the MPC 4000. And let's not forget that Pop's beats are dope! So you know that would want to do anything I can to help.

Chicken Wing Song, By: Amir Ali Said

On my phone there's a song I made called 'The Chicken Wing Song'. I made this song a number of months ago but its still hilarious. I just so happened to be hungry and delirious at the time and I thought of, Chicken Wings. I mean what 12 year old kid doesn't think of Chicken Wings occasionally. Well, I do and disregard the last statement because I don't think that many 12 year old's think about Chicken Wings.

Lyrics are pretty hard to tell because like I said I was delirious and I can't tell some of the words. But the song is funny and should be listened too. One day I'll see if I can post it.

BDP/KRS ONE - "Loves Gonna Get'cha (Material Love)"

By Amir "Sa'id" Said and Amir Ali Said

Liner Notes with Amir and Sa’id
BDP [Boogie Down Productions/KRS ONE] – “Loves Gonna Get’cha (Material Love)

Sa’id (S): Listening to that song, “Love’s Gonna Get’cha” by BDP/KRS ONE, what’s your impression of that, when that joint comes on?
Amir Ali Said (A): ungh… [long pause] I like that song, and in that song KRS ONE is making a lotta good points… Like he’s talking about his mother struggling, she’s working hard, and that’s what happens when you live in the projects; talking about when he comes home from school, he gotta deal with these dudes in front of the project house… Talkin’ about he only got bread on his shelf. He also talkin’ about he gotta help his moms out, cuz they not pullin’ in as much money, so…

S: Right. But as far as the music goes and what he’s sayin’… like put it this way, the points that he’s describing, he’s making serious points, but do you feel that you’re being taught or do you feel that you’re being taught and entertained at the same time?
A: I feel I’m being taught and entertained at the same time.

S: Why would you say that?
A: Because he’s making points, but then he’s also joking around in the song, sayin’ ‘I come home hug my mother, kiss my sister, punch my brother’.

S: That’s cool, he’s using humor, but when I say “entertainment”, can you imagine this being something that bangs out at a club or is this something that you just listen to in the crib?
A: I think it sounds like a song that would be like something you would listen to in the crib.

S: Well, then it doesn’t have that much entertainment quality. Because these songs was playin’ 10, 12, 15 years ago in the club. So, that sounds like you only answered because you thought I was leading you one way. The point that I’m trying to get across is that what dictates club music is not the idea that you’re going to make something for the club. Club music can be anything! Hip Hop started from various breaks of music that didn’t even have vocals. A lot of times what was going on was that people were playing music, DJs were playing music… alot of times if it wasn’t some classic rock band, or some reggae dub plate, or in the particular case of disco, the DJs would cue up certain parts in the music where it was just breaks playin’… where it was just like the drum break. Really what a break means is when everything is dropped out of the music except the rhythm section: the drums, the bass, and the guitar. And in those days, the DJs would spend the vinyl back and forth just playing that section. And people in the crowd would listen to that music and go crazy. They didn’t know that in some cases it was The Band, which is a classic rock group. They didn’t know all these things were going on. Sometimes you could go to a party and you could bang out to “Funky Drummer”; you could bang out to all sorts of James Brown music; all sorts of music from The Meters. And then you could hear another group, you know, a little bit of disco. So that’s what I’m trying to get you to understand that what constitutes “club music” isn’t the idea that you gotta consciously think that this is going to go over big in the club. The idea is that you make quality music first, and quality music is going to find itself anyway!
A: Right.

S: Another thing that determines what you’re going to hear in the club is the tempo. This isn’t a song that in today’s contemporary Hip Hop, you’re going to think like, I’m going to dance to this. But if you listen to the music, and again this is what I mean by if it was your club, your spot… if this is being played in any atmosphere, whether it somebody’s birthday party or whatever, people who have never heard this before…
A: Ain’t gonna go to it…

S: Right, exactly.
A: They wouldn’t know what it was…

S: Right, but they’re not going to hate on it. They’re going to be drawn to it. If you put somebody that’s your age or somebody that’s a little older and hasn’t been prejudiced one way or the other against any music, they’re going to listen to this music and it’s gonna sound good, because it has a common theme. The things that you talked about as far as the points that it made, that’s what I’m getting to: the points are being made right along with good music! So it’s not like anything wrong is going on with the joint. That’s why I’m sayin’, you know, you maybe not won’t hear of too many people doing dance routines to the shit, but that whole idea of music being played in the club, it depends on a person’s perspective of what they like, you understand.
A: Right.

Buckwild: Dude's Gotta Understand, pt. 1

Interview By Amir 'Sa'id' Said (My pop)

Buckwild came on the scene in 1994, the tail-end of Hip Hop-Rap's Golden era, with rapper O.C.'s classic, "Time'sUp." Over the next 11 years, Buckwild produced some of the most memorable and well-known bangers ever crafted. From Nas to 50 Cent, Buckwild’s production always stays true to his sound and his love for Hip Hop-Rap music. Moreover, His widely comprehensive grasp of Hip Hop-Rap music and the current production movement is worth noting. He’s seen it, he’s done it, he hears and he sees it now. He doesn’t front. Like a lot of these mis-guided “industry” producers. Instead, he’s genuinely concerned with helping new production talent emerge. BeatTips.com caught up with Buckwild in his Bronx based recording studio. Check out the knowledge he dropped.

BeatTips.com: Do you use Timestretch?
Buckwild: Yeah, I do. Some songs, some beats I have it where I can stretch it. That’s the one thing a lot of cats don’t understand. Sometimes you buy records, and the time progression changes. Like the song starts going faster, or starts going slower. So if you got a song going, and it starts off at like 80 [BPM], then it goes to 81 and 82, you can’t loop that. So you have to figure out a way to make it relevant. And that’s where the 6 [Akai S6000] came in. The 6 was one of the best machines that hey invented for just straight Hip Hop.

BeatTips.com: Let’s say you take a record and you throw it into the 6000, how did you make it the way that you wanted to, if a problem like that occurred. You know, if you wanted to throw it to a drum backbeat?
Buckwild: I would take the parts that I need, and I would do a BPM match… There’s so many things that the Akai S6000 does… I could take this one part right here and make it one part of the tempo that I need. It has a lot of little secrets, but you just have to have the patience to get into it.

BeatTips.com: So what if somebody says to you, ‘listen, you’re using the 6000 and you’re using Akai MPC 4000 to sequence. Why don’t you just throw everything in the 4000?’ The 4000 is a monster!
Buckwild: The 4000 IS a monster! But if it’s certain things that I need to doctor up with the 6000, I’ll go back to the 6000. But everything now, I use with the 4 [MPC 4000]. The 4 is ridiculous! You can put so many different programs in there and change up so many ways that people don’t even understand. Like I know a lot of people who don’t use the 4. Only people that I know use the 4 right now might be me, Just Blaze, Lord Finesse, and Rsonist, from Heatmakerz… Not too many people. Everybody uses the XL [Akai MPC 2000XL] or they use Reason and all this other stuff. But the best thing about the 4 is that you can doctor your sounds how you need to.

BeatTips.com: How do you sample drums? Do you process your drums? Do you sample dry?
Buckwild: I sample all of my drums dry. But I doctor (tweak, i.e. EQ, etc.) all of my drums in the 4. The one thing that dudes gotta understand is that, we all pick machines… even Minnie [producer, Minnesota]. Minnie use the ASR [Ensoniq ASR-10], but we all have a certain technique for what we do. You can give 10 dudes the same record, that don’t mean we all are goin’ to do it the same way. Like we all have a vision of how we like our drums. I like my drums tight. So I’ll do whatever I need to inside here [he points to MPC 4000] so that way, when I get my record to an engineer, if I can’t mix my record, at least everything is there. I’ve known a lot of engineers that have been like, “I love mixing with you because you make my job so easy, everything sounds the way it should be; I may have to put on a little reverb, but everything sounds good.” Hearing that, that’s a blessin’. I’m like, “cool”, that let’s me know that I must be doing something right.

BeatTips.com: Do you sample your drums from vinyl?
Buckwild: Vinyl… I’m Ol’ School (laughs)… Vinyl!

BeatTips.com: What about online companies that sell sounds? Many people are going online, downloading WAVs and such. But a lot of drum sounds now stand out too much.
Buckwild: Yeah! You know what it is. You know what people forget to realize? When you’re turning instruments, you also have to tune your drums to your music. And a lot of dudes don’t understand that. So sometimes you hear drums and they may stick out, you know, somebody might say, “I want this right here to be dominant.” But I think when you’re mixing your records there needs to be balance, but sometimes that’s on your engineer also.

BeatTips.com: Do you have individual rules, you know, how you approach your kicks, how you approach your hats?
Buckwild: It depends on if I’m using a loop, or if I’m using live stuff. Every beat is different. Like on some records, sometimes I put reverb on a kick just to give it an effect, but I’ll put something behind that kick to still make it knock. I’m not saying that you want to try to be so different, but you want to try to be creative. It’s like, O.K., I’m taking a loop but I’m making this loop my record.

*Buckwild’s Music Production Set Up: Akai MPC 4000, Akais S6000, Yamaha Motif 6, Pro Tools TDM