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How many make music because of J Dilla?
Happy Born Day Dilla! You continue to influence music makers that weren’t even born when you were alive. Your instrument is immortalized in the Smithsonian 🙌🏽
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Me 🤚
Dilla humanized a machine and continued to morph James Brown’s influence with funky, off time beats! You can hear Dilla’s influence in so much hip hop, R&B, and lo fi music. I always think what would Dilla do when I play!
Thank you for sharing @ExAsperis99! BM3 and Koala users rejoice!
Could you imagine a DillaDoom project? Word to the afterlife, bet the soundtrack is slappin’!
@king_picadillo Dream come true: https://www.stonesthrow.com/news/dilla-ghost-doom/
Perhaps not because of Dilla but for sure I was at some point fascinated with his music. His little brother BTW made a really good debut on Dilla's beats. Yancey Boys.
Here's my confession. When Dilla productions first started landing I was scratching my head and saying, "Where did the drums go??"
I was heavily into hip hop and a big part of that sound for me was the pounding boom bap, the hard drums, both UK productions and the better known US stuff. I still love the big beat.
But Dilla started to float the beats. Create space. Found sounds. Percussion. Tempo shifts. The shuffle. Queasy swagger.
But when it clicked, I finally got it. Oh, this guy is good!! It has been pure pleasure and admiration ever since.
Respect!
Dilla put the machine back in the box and made the sampler an instrument to be played like a human. I hope that trend continues.
@gusgranite similar original take but from a different angle. I’m a lyrical purist and when Slum Village landed, I was not on board because the lyricism wasn’t as complex as I liked. And then I saw them live at the Spitkickers tour and was blown away. They were the group that taught me that it was ok to love the big picture without picking apart specific elements.
One more:
U.S. racial oppression is a complicated psychological challenge: slavery, Jim Crow laws, racial steering, the new Jim Crow, lynch mobs, school segregation, police brutality, racial profiling, and on and on...
We celebrate cultural progression. Every bright light in black culture is a victory over all the gruesome things that happened before and still happen based on the color of someone’s skin.
https://www.catalyst.org/research/structural-racism-black-americans/
Can someone point me to something that really showcases why he gets so much adoration from hip hop guys? I mean no disrespect. I've had a few people mention to me before he was like a god of sampling, but listening to a few of his albums (Donuts or something?) I just didn't get it. At least not compared to something like say "Endtroducing", which for me was more powerful and engaging.
I'm also not super fluent in the hip hop genre either, so I don't necessarily know what he might have been doing different that turned things on their head. Trying to learn
Not a hip hop guy but i love his work. I even own several records of his. Him, Rza and Digable Planets always have a place on my shelves.
I think most here make music because and thanks to J Lila
Not Dilla for me but Nujabes definitely began my interest In hip hop production. Luv Sic pt 2 basically saved my life when I was getting off of hard drugs.
My man shares this birthday with Dilla, so HBD James Yancey and Jun Seba
@Tarekith I think this is a decent introduction to his sound https://www.okayplayer.com/originals/j-dilla-best-beats.html
A track I personally love is this one with Busta even if it isn’t his most inventive production. It’s just a classic hip hop tune with a different twist. Busta’s foul mouthed rhymes are the icing on the cake:
@Max23 what on earth are you going on about?
Who?
I don’t make (much music) like J Dilla but I could play anti-American graffiti on a loop until the end of time
Much love ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️
✊🏽 You’re welcome. It’s my pleasure my brother.
As far as influence, Dilla was an innovator in sound design and sampling techniques. He was known for a sound that created neo soul and was a precursor to lo-fi: laidback hip hop drums, low end bass, electric piano, and ambient samples all played in a non-quantized, Dilla way. He produced A Tribe Called Quest’s last two albums, a lot of music for Q-Tip, Common, Erykah Badu, D’Angelo, Slum Village, Janet Jackson, Dwele, and The Roots to name some notables. Together with Q-Tip they formed the Ummah. Together with Common, Q-Tip, Erykah Badu, James Poyser, D’Angelo, Questlove, Roy Hargrove, Pino Palladino they formed the Soulquarians.
Enjoy:
Hmm. You might be overthinking this one...
Thanks for the rundown. This stuff isn’t my thing, so I’d not heard of him.
You might need to sit this one out. You don’t know what you’re talking about at all. Dilla’s MPC is in the National Museum of African-American History and Culture, which is part of the Smithsonian Institute, and which seems perfectly appropriate.