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[Sludge Factory]

Pa jbg, ovo je prvi singl :D

 

Inace, ne znam sto su se svi primili na ovog Marka Ronsona, sad i QOTSA producira. Pesmica je ok, ali zvuk me ne privlaci bas nesto, cak je i odbojan. 

 

EDIT: Mada, evo, navikavam se 

Edited June 15, 2017 by Sludge Factory

[Takeshi]

Pa jbg, ovo je prvi singl :D

 

Inace, ne znam sto su se svi primili na ovog Marka Ronsona, sad i QOTSA producira. Pesmica je ok, ali zvuk me ne privlaci bas nesto, cak je i odbojan. 

 

EDIT: Mada, evo, navikavam se 

 

ma bezveze, od toliko producenata oni uzmu ovog opeglanog da im nagruva ritam sekciju i utuli gitaru 

al dobro, ja bi da im sve zvuci kao songs for the deaf. i tamo je gruvalo ali sa grohlom.

 

p.s. navikavam se i ja. valjda ce uskoro i ostatak.

[Sludge Factory]

ma bezveze, od toliko producenata oni uzmu ovog opeglanog da im nagruva ritam sekciju i utuli gitaru 

al dobro, ja bi da im sve zvuci kao songs for the deaf. i tamo je gruvalo ali sa grohlom.

 

p.s. navikavam se i ja. valjda ce uskoro i ostatak.

 

25. avgusta.

 

Evo sta Josh kaze o svemu tome:

 

"The most important aspect of making this record was redefining our sound, asking and answering the question, 'What do we sound like now?'

 

"If you can't make a great first record, you should just stop - but if you can make a great record but you keep making records and your sound doesn't evolve, you become a parody of that original sound."

 

 

[Takeshi]

 

25. avgusta.

 

Evo sta Josh kaze o svemu tome:

 

da, to je objasnjenje. evo ga i u interjvuu za beats1

 

Edited June 16, 2017 by Takeshi

[maheem]

[maheem]

[Jimmy Kowalski]

[roksi]

[Indy]

 

 

 
AllMusic Review by Bruce Eder 

Givin' It Back is as much a time capsule as an album. Not that it can't be enjoyed on its own absolute musical terms by someone just off a boat who wasn't even around in 1971, but to really appreciate how daring it was and how delightful it is, that side of its history should be known. Those who are old enough should recall the time whence it came, an era in which hatred and disunity over the Vietnam War, civil rights, school desegregation, the environment, and a multitude of other issues were threatening what seemed, potentially, like the beginning of a new civil war, this one not between states but between factions and ethnic and racial groups in 1,000 individual neighborhoods. The opening cut of Givin' It Back, "Ohio/Machine Gun," is a slap-in-your-face reminder of just how angry the times and the people were. The track evokes instant memories of the campus bloodshed of 1970, not just at Kent State but also the often-forgotten killings a few days later at Jackson State University in Mississippi, where the victims of a fusillade of sheriff's deputies' bullets were black students. More than that, the track itself is also a reminder of the divisions that existed on the left; to listen to pundits on the right, the anti-war and civil rights movements, along with the counterculture, were all part of one vast, organized, calculated left-wing conspiracy. The truth is that there was nearly as big a split, culturally and politically, between young blacks and young whites on the left and on college campuses as there was anywhere else in the population. Blacks reacting to years of oppression had little use for mostly middle-class white college students, however sympathetic many of them purported to be to their situation, while well-meaning white students and activists couldn't begin to know what privation of the kind experienced by blacks and Hispanics in most American towns and cities was. In music, too, there was a lot of division; blacks usually didn't resonate to the top artists in the white world and, in particular, were oblivious to (and even resentful of) the adoration accorded Jimi Hendrix by the white community. So, when the Isley Brothers -- whose appeal among black audiences was unimpeachable -- opened Givin' It Back with a conflation of Neil Young's "Ohio" and Jimi Hendrix's "Machine Gun," they were speaking to anger and bloodshed in the streets, but they were also performing an act of outreach that was about as radical as any they could have committed on record in 1971. That they incorporated a prayer into their reformulation of the two songs, amid Ernie Isley's and Chester Woodard's guitar pyrotechnics, turned it into one of the most powerful and personal musical statements of its era, and it's worth the price of the album just for the one cut.

 

Edited June 16, 2017 by Indy

[Jimmy Kowalski]

[roksi]

 

(...)The truth is that there was nearly as big a split, culturally and politically, between young blacks and young whites on the left and on college campuses as there was anywhere else in the population. Blacks reacting to years of oppression had little use for mostly middle-class white college students, however sympathetic many of them purported to be to their situation, while well-meaning white students and activists couldn't begin to know what privation of the kind experienced by blacks and Hispanics in most American towns and cities was. In music, too, there was a lot of division; blacks usually didn't resonate to the top artists in the white world and, in particular, were oblivious to (and even resentful of) the adoration accorded Jimi Hendrix by the white community. So, when the Isley Brothers -- whose appeal among black audiences was unimpeachable -- opened Givin' It Back with a conflation of Neil Young's "Ohio" and Jimi Hendrix's "Machine Gun," they were speaking to anger and bloodshed in the streets, but they were also performing an act of outreach that was about as radical as any they could have committed on record in 1971. That they incorporated a prayer into their reformulation of the two songs, amid Ernie Isley's and Chester Woodard's guitar pyrotechnics, turned it into one of the most powerful and personal musical statements of its era, and it's worth the price of the album just for the one cut.

 

 

yep, def something to take note of here. lest we forget.

 

 

 

[roksi]

[Jimmy Kowalski]

[John Coltrane]

[Takeshi]