That can be a near-direct lift (Jay Z’s “Izzo” sees West add drums to a pitched-around version of the Jackson 5’s “I Want You Back”) or more oblique–as in “Runaway,” where he takes the Backyard Heavies drum loop that Pete Rock famously sampled on “The Basement” and wrapped in salmon-colored silk and antipathy. His best work takes something recognizable and bends it into his orbit. Kanye’s career has always been about appropriation, and the moment when appropriation bleeds into synthesis. Two and a half years later, North West has a younger brother, her parents are married, and Yeezus remains perhaps the most divisive album of the decade. Finally he lets the songs - which take the industrial sides of Chicago drill and acid house and molds them into a midlife crisis - do the talking. I felt that I had a real talent in chopping and appropriating music.” He’s self-deprecating when he compares himself to Andy Warhol (“I’m a black guy, so I’m gonna name the most obvious artist in the world”), but he means it. “I found that when I would drop samples, my friends would react to it more. “I wanted to make something of impact,” he says of his earliest experiences in making music. So he sends out a few emails and makes it happen.īefore he hits play on the songs (he does so from his custom matte-black MacBook Pro, no MPC), he ambles through a disjointed, staccato monologue: Steve Jobs, the ugliness of the YouTube player, ad agencies, being a “very commercial celebrity boyfriend.” But mostly, he wants to talk about the act of appropriating. But, it’s Art Basel, and Kanye has been sufficiently moved to stage an impromptu listening session for his seventh solo album, the then-unreleased Yeezus. He’s in Switzerland, of all places - not where most expectant fathers are when their nine-months-pregnant fiancées are home in Los Angeles, at least one layover away. It’s early June 2013, and Kanye West is anxious. Try not to lose any sleep.Photo-Illustration: Kelly Chiello and Images by Getty Images Brassy, punchy and mercifully light on the shouting, it's hardly up there with the better tracks on Amerie's current album (Losing U and Crush) but it'll be in and out of the charts fairly quickly.
It is so obvious and honest in its misdemeanour that you just want to give it a big hug.
Just as it is hard to hate someone who has ripped the wing mirror off one's car if the note under your windscreen wiper comes with a little picture of a cat at the bottom, it is hard to dislike Gotta Work and its total adherence to the Crazy In Love blueprint. However, this release, where literally every one of the 800 new mixes of Josh Wink's ancient track is absolutely terrible, does make you wonder. It's always difficult to say that a pop single release is entirely pointless, especially when there are young people in discos around the country using it as the soundtrack for a little dance.
Josh Wink, Higher State of Conciousness (Strictly Rhythm) This track, familiar to anyone in the UK with an internet connection and a passing interest in popular culture, has been a runaway hit in the States and owes its success to thunderous beats, catchy vocal hooks and a thought-provoking meditation on high school sexual politics: "my lipgloss is cool, my lipgloss be poppin', I'm standing at my locker and all the boys keep stopping". Megastar-in-the-making Lil Mama is already hitting her stride as the charismatic teen MC du jour, scoring guest slots on a sprightly remix of Rihanna's Umbrella and a surprisingly winning Avril Lavigne Girlfriend rerub. Beyoncé should be pleased, but she's probably furious. And so, as is now traditional, Green Light gets the Freemasons treatment and, as a result, some radio airplay.
#AMERIE 1 THING SONGS SIMILAR BEYONCE GREEN LIGHT FULL#
Having remixed to within an inch of their life every single so far from B-Day, Brighton-based production outfit the Freemasons have a relationship with the current Beyoncé album which is not so much an example of polishing a turd as a masterclass in applying a lifetime's worth of disco-scented Windolene to an Olympic swimming pool full of tired R&B horse dung. Beyoncé, Green Light (Freemasons remix) (Sony)
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