[Foxy Brown]
Remix
[Baby]
Boss, I see you there!
I see you Mike! I see you Roy!
Keep your hands up nigga keep fightin
[Baby]
Mami, boss nigga, boss bitch
Boss whips with boss chips
Drive Escalade on boss blades
Sitten on them twenty-tre's
and thats on some stop and go's
When I pull up the car stop the rims still flow's
Picture me rollin like this
Burberry, Gucci, interior so slick
Me and Foxy with the matchip whips
That Benz, that Bently, Lambourgini luxury shit
I red carpet my bitch
Bought her up to Jacob and laced my bitch
I bought a 99 Hummer
Fuck that I got 99 bundles
Nigga life is a hustle
Fuck that little daddy, life is a struggle!
[Foxy]
Its necessary we styles in Burburry
And our walk is mean in them Frankie B. jeans boy
Its necessary we stays in Burburry
And a Mark Jacob bag and a H-Tod shoe (Whoo)
[Noreaga]
Its necessary we smoke the blueberry
and we pop that Louie thirteen with our team boy
Its necessary we rock the Sean John
With a nice throwback and some Air Force Ones
[Noreaga]
See, all that ain't nothin we at the bar frontin
Its necessary I smokes that blueberry
When I do white liquor I do it with cranberry
Niggas fall off top and look at they
[Intro: Silkk (Cam'Ron)]
Remix
(That's right) Silkk the Shocker
Uh, Cam'Ron (You ain't know) No Limit
(That's right) Untertainment
(I'm here and there) mo' money
(I'm here and there)
Ya don't know?
[Verse One: Cam'Ron]
Aye yo I just walk wit' ya'll, I don't wanna rhyme
I just need talk wit' ya'll
Mamasita, senortia
I'm lookin' for my wifey
Cats always love me, till they girls start to like me
They don't know I'm sheisty, and all my jewels Icey
Tryin' to settle down Ma, stop actin' all fiesty
Cause 'I don't wanna be a playa no more'
Know it's soft, but I cam with a 'core
For the love of Money, Charli, whoa It Ain't My Fault
Like Silkk, it's so timid, my trunk, it go wit' it
The whole Squad is Terrorin', cats is No Limit
And I'm a diplomat, I'm a dimplomat
Where my honeies at?, where my money at?
That's why we act like that
Clak clak clak!, pat pat pat!
So all you girls bring your thongs and shit
Don't front, cause you know what song this is
Ju don't know
[Chorus (Wyclef)]
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
[Verse Two: Big Punisher]
Yo, yo
All the mami's know me, the Spanish kid wit' the goatee
If this was L.A., I'd be a motherfuckin O.G.
Ya my taste, thick in the waist, pretty in the face
Dominican race, like my twin Triple Seis
Hot as hell, I'm trickin' in
Shorties sharp as nails, the official chick
Reppin Uptown to Harlem World, where we at
I'm up coughin in the ambulance
>From way downtown, they got the Horses and the Carriages
For 40 bucks, you can ride and get ya hug on
Another 20, puff lye and get ya crush on
It's all love, just like the Bud' when ya hit it
Cause way downtown, you know the fuzz is tryin' to hear it
So when ya spark, ya make sure it's in the dark
And most importantly, stay away from Central Park
Cause cops live, just to put away a thug
But not today, cause me and my baby in the Cabaret of Love
[Chorus (Wyclef)]
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
[Verse Three: Charli Baltimore]
Yo yo yo yo yo yo yo, uhh
I thought I already barked on cats about Russ Hadden
It ain't work, gotta Scream on cats like Wes Craven
Owwwww!, they ain't know I hadn't in me
Like Lil' Kim -- didn't know they had it in me
Don't you know don't you know, we pull up from a show
Cam and chrome bag the hoes, I Prada bags all the dough
And caked out, break out, uh
Horse & Carriage, forced to marriage, been had too many carats
And they ain't know, passin' that down
Where I come from
Ask Jane, that's my dun-dun
How we handle them dumb dumb's
And we like, Siskel and Elbert
We review cats, thumbs up if they they shit's right
And down if they new jack's
You might see Charli, in a Benz or Ferrari
Hennesey or Pacardi, gettin' bent at a party
But I flip, be the new face, cover of Trace
This the motherfuckin remix, we ain't need no {Mase}
Uh huh uh huh
We like it (Slikk the Shocker)
Uh huh uh huh (Cam'Ron, No Limit)
(Untertainment)
(Mo' money, ya heard me)
[Verse Four: Silkk]
I live life like a thug, cause time's is rough
Convicted felon; now I like, rhyme for bucks
Ball till I fall, should I say, my time is up
And I cop you diamonds, never diamond cut
Forget the money, cause I could ball with or without the shipment
And I'm down girl, but I could ball with or without the chick
Sillk the Shocker, Cam'Ron, now how you gonna doubt us a hit
(Must be a car), Miss I could pull you, with or without the six
Now I ain't the C-E-O, but I ain't far from it
So if I ain't far from C-E-O
That mean I ain't far from havin' C-E-O money
Can't discuss what I'm worth, but I'm worth this much
Like Mantigo, fall back like snatchin' purses for bust
So many styles - drop a beat, I'ma drop a hit
Rap game stop for the dope game - and cop a brick
No Limit Soldier baby, so watch the talk
Get lost like ohhhhhhh, "It Ain't My Fault!"
I'm from the N-O, L-I, M-I to the T
Tru my click, Silkk, the Shocker, yeah that's me
Now look, money I'm tryin' to make it
Bustas I'm tryin' to break, girls is like
Ooh I love Silkk, and then, ooh I hate him!
Cause they can't have me, but I don't look
I can't afford to live average
So senorita, let me walk you to my carriage
Now I don't wanna settle down, but we can do it like we married
Cheese!
[Chorus (Wyclef)]
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
[music till fade]
Remix
I'm sorry I ain't
I ain't get right back at'cha niggas
I've been a little busy with this dynasy shit
But uh got my mind right, money been right
I'm ready for war
Young Hovah, holla yeah
I got the fifth niggas
You have to pick niggas off of the ground
When I pick niggas off with tha pound
Go get your click nigga
This nigga running with clowns
I'm a rich nigga
I get you clipped at cost right now
Niggas forget niggas as soon as your coffen off in the ground
Family man, look at your kids orphans now
Used to just smack rappers
I'm extorting them now
Taking all that's important to them now down to your bitch
Nigga you sick fronting like you tougher than what you are
Till the gun is coming thru the drivers side of your car
Using my name in vein like I won't damage the boy
You think niggas was shooting you out of canons before (I'm that nigga)
Niggas is pompous, first they in Evil Kanevil jumpers
Than they turning over Rovers like they want it with Hovah
It's not about rich and po', nigga, it's about Richard Poe
Understand I'm here to get this dough
It ain't about Brooklyn or Harlem
No more them it's about fame or stardom
It's about me being on blocks you borrowed from
I'm setting myself apart from rappers who use other peoples names
So other motherfuckers can watch 'em
It's as sample as this - y'all niggas get off my dick
I'll let you eat after I get off my bricks
The world's most dangerous clique; R.O.C. - mind right bitch
- [Memphis Bleek]
I got my mind right, money right
(yeah)
Ready for war
(uh-huh)
Nigga, we ready for y'all
I got my mind right, money right
(yeah)
Ready for war
(uh-huh)
Nigga betta study your forms
If there's wars with my dogs, it's war with H
Act pumped and get left with a sawed off face
Respect carter, respect the R.O.C or respect the shots
Or respect the shots 21 thrown out the heckle or cock
The Co'd's no respect for the cops
Even if the park right next
To the spot we setting up shop
I got my mind and my cash right, a bad wife
Gripping a bag tight while yall living a mad life
I chase down niggas, shake down niggas
Head back to the honeycomb to break down figures
I love 38's but the trey pounds bigger
Throw in the bank, trucks the size of tanks now nigga
I don't rap for pleasure I rap for chedder
Guns clap for treasure straight like that forever
H, Bleek & Jay on a track together
It's a wrap for y'all dog
We ready for war
I keep the gun tucked nigga
Which one of you tough
Which one of think you can go around with the pump
My clique for real
I ain't gotta talk no more
One in the leg, bet he won't walk no more
Ladies love me, why?
Cuz I give em backshots
Niggas wanna throw slugs but I bust back shots
It ain't even about trying to diss these niggas
It's about these niggas ain't built for these niggas
The R.O. yeah we simply street
You niggas cotton candy you simply sweet
I let the fifth spit without the red dot
I point and pop, pop, pop and drop
I got my mind right, money right ready for war
For that doe Bleek bustin that for
This how real we get deep in the streets kid
The R.O.C. exclusive remix motherfucker
I got my mind right, money right
And it's not right here
Who want a war?
Nigga I'm right here
Get mind right, your money light
Don't make me come out there
Snatch your whore and get it done right there
Little niggas ain't ready for war
Better get ready for bed
Buck shot land at your head
Buck shots right at your head
Sit you niggas in a permanent chair
Give you niggas permanent stares
Shut down the party with the cut down shotti
Make doctor, cut down your body
Keep a hammer fuck a strong arm robbery
I blast I push the gas on the road part Johnny
I'm fast stay on the road so the law can't find me
In some quiet town tying it down
That's right Mac still supplying it now
By the pounds, stop trying it now
[Swizz]
Remix
[Chorus][Nas]
Now, niggas salute me, bitches salute me
The block salute me, the hood salute me
You should salute me, They should salute me
So fuck who you are, I'm the motherfucking general
Now, niggas salute me, bitches salute me
The block salute me, the hood salute me
You should salute me, They should salute me
So fuck who you are, I'm the motherfucking general
[Nas]
Yo Esco illing, Swizz Beatz illing
What more can we say, stop grilling
'Fore you get hit up, shut up good
We'll merc you in your hood
I'm el pacino, Nas the God, you'll lose your life
Whether on the corner or clubs, I'm shooting dice
Break my cipha, I'm get at you
Slice you, knife you, stab you, shank you, splay ya'll
Too many rappers is jealous, who be gasing the fellows
Bunch of actors who never sold a crack in the ghetto
Went from nasty to Esco, back to nasty
Clapping that black heat
None of ya'll are matching my level, I'm the general
[Chorus: Nas]
Now, niggas salute me, bitches salute me
The block salute me, the hood salute me
You should salute me, They should salute me
So fuck who you are, I'm the motherfucking general
Now, niggas salute me, bitches salute me
The block salute me, the hood salute me
You should salute me, They should salute me
So fuck who you are, I'm the motherfucking general
[Fat Joe]
Nowadays I'm on some mack shit
But I used to be loyal to tax, cracks
The nigga that would soil-in your jacks
Feed 'em with trays the size of light bulbs
Coke so bright, it shine like white gold
And the hoes love Joe way before this rap shit
Before the Versace floors and the rolls to match it
Joe's a bastard, I sell pussy for cheap
Make my bitch walk the strip with no shoes on her feet
Don't front for me, you kids is not balling
If you is then why is your wiz on my dick like I'm Jordan
Ties swollen for no man with bold plans
Sick of this rap shit thats why I listen to slow jams
I'm a grown man, the talk of the strip
Niggas think I'm Kev Childs that way I boss this shit
Dogs you's a bitch, I'm here to bring you a muzzle
Saying I'm peeping, I'ma bring you a muzzle
Get the point, General
[Chorus: Nas]
Now, niggas salute me, bitches salute me
The block salute me, the hood salute me
You should salute me, They should salute me
So fuck who you are, I'm the motherfucking general
Now, niggas salute me, bitches salute me
The block salute me, the hood salute me
You should salute me, They should salute me
So fuck who you are, I'm the motherfucking general
[Cassidy]
It's Cassidy, I get rock like a boat when you go fishing
Ayo, Listen I'm the general like Tso's chicken
I'm so sick you can tell by the expression on my face
That I'll get in that ass like preparation H
The weapon the waist and I spray guns off
Cuz if its beef, I'ma be on top of it like A-1 sauce
Pause, now who's the truth (me), Who's quick to shoot (me)
My four-fifth got kick like Bruce Lee
See, I'm a true G, hotter than soup be
Raw like sushi, you gotta salute me
You dudes see, I'll put in an order for you
I'll let the water boil, cook in a quarter in the oil
I had it for sell, but ya'll faggots would tell
Go to jail and start singing like Patti LaBelle
I ain't gonna back in a cell, you rat and you did
Fuck a vest, put a bullet-proof hat on your head
When I'm clapping the lead, I'll murder a nigga
And if he say "he ain't the feds", then I'm serving the nigga
I'm thristy for the change, playing games ain't a issue now
A bitch would give you AIDS nowadays if she kiss you now
I got that coke and that haze on my grillizy now
We going to war, you gonna need more than a pistol now
They throwing missles round, you still trying to get a nine
Uh, its the last days, end of time
The terrorists jacking planes, sending bombs to the Pentegon
They off the hook like intercoms, we just had a bad wintertime
So you know they gonna start to rob
And steal for a mil when its dinnertime
YOu still spending time focusing on dumb shit
On the block smoking, but you broken on some bumshit
What the hell, you might as well put a suit and tie on
[Jay-Z]
Remix
I'm sorry I ain't
I ain't get right back at'cha niggas
I've been a little busy with this dynasy shit
But uh got my mind right, money been right
I'm ready for war
Young Hovah, holla yeah
I got the fifth niggas
You have to pick niggas off of the ground
When I pick niggas off with tha pound
Go get your click nigga
This nigga running with clowns
I'm a rich nigga
I get you clipped at cost right now
Niggas forget niggas as soon as your coffen off in the ground
Family man, look at your kids orphans now
Used to just smack rappers
I'm extorting them now
Taking all that's important to them now down to your bitch
Nigga you sick fronting like you tougher than what you are
Till the gun is coming thru the drivers side of your car
Using my name in vein like I won't damage the boy
You think niggas was shooting you out of canons before (I'm that nigga)
Niggas is pompous, first they in Evil Kanevil jumpers
Than they turning over Rovers like they want it with Hovah
It's not about rich and po', nigga, it's about Richard Poe
Understand I'm here to get this dough
It ain't about Brooklyn or Harlem
No more them it's about fame or stardom
It's about me being on blocks you borrowed from
I'm setting myself apart from rappers who use other peoples names
So other motherfuckers can watch 'em
It's as sample as this - y'all niggas get off my dick
I'll let you eat after I get off my bricks
The world's most dangerous clique; R.O.C. - mind right bitch
1 - [Memphis Bleek]
I got my mind right, money right
(yeah)
Ready for war
(uh-huh)
Nigga, we ready for y'all
I got my mind right, money right
(yeah)
Ready for war
(uh-huh)
Nigga betta study your forms
Repeat 1
[H Money]
If there's wars with my dogs, it's war with H
Act pumped and get left with a sawed off face
Respect carter, respect the R.O.C or respect the shots
Or respect the shots 21 thrown out the heckle or cock
The Co'd's no respect for the cops
Even if the park right next
To the spot we setting up shop
I got my mind and my cash right, a bad wife
Gripping a bag tight while yall living a mad life
I chase down niggas, shake down niggas
Head back to the honeycomb to break down figures
I love 38's but the trey pounds bigger
Throw in the bank, trucks the size of tanks now nigga
I don't rap for pleasure I rap for chedder
Guns clap for treasure straight like that forever
H, Bleek & Jay on a track together
It's a wrap for y'all dog
We ready for war
Repeat 1 (2x)
[Memphis Bleek]
I keep the gun tucked nigga
Which one of you tough
Which one of think you can go around with the pump
My clique for real
I ain't gotta talk no more
One in the leg, bet he won't walk no more
Ladies love me, why?
Cuz I give em backshots
Niggas wanna throw slugs but I bust back shots
It ain't even about trying to diss these niggas
It's about these niggas ain't built for these niggas
The R.O. yeah we simply street
You niggas cotton candy you simply sweet
I let the fifth spit without the red dot
I point and pop, pop, pop and drop
I got my mind right, money right ready for war
For that doe Bleek bustin that for
This how real we get deep in the streets kid
The R.O.C. exclusive remix motherfucker
[Beanie Sigel]
I got my mind right, money right
And it's not right here
Who want a war?
Nigga I'm right here
Get mind right, your money light
Don't make me come out there
Snatch your whore and get it done right there
Little niggas ain't ready for war
Better get ready for bed
Buck shot land at your head
Buck shots right at your head
Sit you niggas in a permanent chair
Give you niggas permanent stares
Shut down the party with the cut down shotti
Make doctor, cut down your body
Keep a hammer fuck a strong arm robbery
I blast I push the gas on the road part Johnny
I'm fast stay on the road so the law can't find me
In some quiet town tying it down
That's right Mac still supplying it now
By the pounds, stop trying it now
I got my mind right nigga
[jay-z]talking
This goes out to my lil man in the chi, well
he aint lil but you know Brandon I told you I got you
nigga what block you holdin down campbell holla at cha boy
I'm out
Remix!
My home is in motion as darkness unfolds,
The air overloaded, the sky stands in gold.
But you in a way, you left me to stay,
We see us in heaven, I'm counting the days.
Remix!
At the end of time, at the end of us,
At the end of everything we had,
Only faith helps you, only grace can do,
Only you can take the pain.
'Cause the end of peace is the end of life,
And the end of any happiness,
Only love helps you, only trust can do,
Only you can take the pain off me.
When thunder is calling I feel so alive,
The very first morning, can you see the light?
But you closed the door to what I adored,
We see us in heaven, I'm counting no more.
At the end of time, at the end of us,
At the end of everything we had,
Only faith helps you, only grace can do,
Only you can take the pain.
'Cause the end of peace is the end of life,
And the end of any happiness,
Only love helps you, only trust can do,
Only you can take the pain off me.
[Werd:]
Remix
Scottish accent cunt
Ken who it is mate
Who in the scene gone do it like this
Mainstream beat and I re remix
Not for the heads one for the kids like
Every body in the club get pished
Make club a song
Make a thug song
Make a love song
Knout that a does wrong
I'm a beast get a beat I can bust on
I need bread roll and a cruson
Yeah I'm the cunt from Auld Reekie
And you all say I'm so cheeky
Scots can't rap oh really
Fuck your life this is Auld Reekie
You can't make a cunt of us
We all about the bars if u had this much
Then you gone be just as drunk as us
(You gone be just as drunk as us)
[Ying Yang Twins]
[Werd:]
It's not New York not Cali
I just sound like me and I'm swallyed
You sound like me when am vallied
You should stay on your toes like it's ballet
What the fucks wrong
Where come from
You don't sound like a Scot when you does songs
So you suck dong
Move the fuck on
We don't like fake jakes get to fuck son
Yeah you come from Auld Reekie
If you act fake your so cheesy
That ain't you like oh really
Fuck your life this is Auld Reekie
Want a quote here is one for the captions
Fuck all the fakes and the acts that are acting
All the people with the fake ass accents just
(Drop that mother fucker)
[Ying Yang Twins]
[Werd:]
See him with the accent he is just acting
So cunt I'm laughing now
See him with the accent he is just acting
People say I'm crazy
I'm starting to believe them
I'll throw it all away
For something I don't know
I haven't lived my life yet
Start to live my life right now
And I need a way of achieving
And I got a way of achieving now
I don't wanna fight
I don't wanna behave
I just wanna live
Who gave you the right
To come down on me
I just wanna live
People wanna know all the stories
And I wish I could help them
So I'll break the chain
Of rumors that ruin all
And I don't know what love is
How about I know what love is now
And I need something to believe in
I got something to believe in now
I don't wanna fight
I don't wanna behave
I just wanna live
Who gave you the right
To come down on me
I just wanna live
And I don't know what love is
How about I know what love is now
And I need something to believe in
I got something to believe in now
And I don't know what love is
How about I know what love is now
I don't wanna fight
I don't wanna behave
I just wanna live
Who gave you the right
To come down on me
Remix
(that's right) silkk the shocker
Uh, cam'ron (you ain't know) no limit
(that's right) untertainment
(i'm here and there) mo' money
(i'm here and there)
Ya don't know?
Aye yo i just walk wit' ya'll, i don't wanna rhyme
I just need talk wit' ya'll
Mamasita, senortia
I'm lookin' for my wifey
Cats always love me, till they girls start to like me
They don't know i'm sheisty, and all my jewels icey
Tryin' to settle down ma, stop actin' all fiesty
Cause 'i don't wanna be a playa no more'
Know it's soft, but i cam with a 'core
For the love of money, charli, whoa it ain't my fault
Like silkk, it's so timid, my trunk, it go wit' it
The whole squad is terrorin', cats is no limit
And i'm a diplomat, i'm a dimplomat
Where my honeies at?, where my money at?
That's why we act like that
Clak clak clak!, pat pat pat!
So all you girls bring your thongs and shit
Don't front, cause you know what song this is
Ju don't know
Ya don't know what we're going through
Ya don't know the things that cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Yo, yo
All the mami's know me, the spanish kid wit' the goat-ti
And fixes the land, i be a muthafuckin' o.g.
Ya my taste, thick in the waist, pretty in the face
Dominican race, like my twin triple says
Hot as hell, i'm trickin' in
Shorties sharp as nails, the official chick
Repin' uptown to harlem world, where we at
I'm up coughin' in the ambulance
From way downtown, they got the horses and the carriages
For 40 bucks, you can ride and get ya hug on
Another 20, puff lye and get ya crush on
It's all love, just like the bud' when ya hit it
Cause way downtown, you know the fuzz is tryin' to hear it
So when ya spark, ya make sure it's in the dark
And most importantly, stay away from central park
Cause cops live, just to put away a thug
But not today, cause me and my baby in the cabaret of love
Ya don't know what we're going through
Ya don't know the things that cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Yo yo yo yo yo yo yo, uhh
I thought i already barked on cats about russ hadden
It ain't work, gotta scream on cats like wes craven
Owwwww!, they ain't know i hadn't in me
Like lil' kim --, didn't know they had it in me
Don't you know don't you know, we pull up from a show
Cam and chrome bag the hoes, i prada bags all the dough
And caked out, break out, uh
Horse & carriage, forced to marriage, been had too many carats
And they ain't know, passin' that down
Where i come from
Ask jane, that's my dun-dun
How we handle them dumb dumb's
And we like, siskel and elbert
We review cats, thumbs up if they they shit's right
And down if they new jack's
You might see charli, in a benz or ferrari
Hennesey or pacardi, gettin' bent at a party
But i flip, be the new face, cover of trace
This the muthafuckin' remix, we ain't need no mase
Uh huh uh huh
We like it (slikk the shocker)
Uh huh uh huh (cam'ron, no limit)
(untertainment)
(mo' money, ya heard me)
I live life like a thug, cause time's is rough
Convicted felon
Now i'm like, rhyme for bucks
Ball till i fall, should i say, my time is up
And i cop you diamonds, never diamond cut
Forget the money, cause i could ball with or without the shipment
And i'm down girl, but i could ball with or without the chick
Sillk the shocker, cam'ron, now how you gonna doubt us a hit
(must be a car), miss i could pull you, with or without the six
Now i ain't the c-e-o, but i ain't far from it
So if i ain't far from c-e-o
That mean i ain't far from havin' c-e-o money
Can't discuss what i'm worth, but i'm worth this much
Like mantigo, fall back like snatchin' purses for bust
So many styles
Drop a beat, i'ma drop a hit
Rap game stop for the dope game
And cop a brick
No limit soldier baby, so watch the talk
Get lost like, oh it ain't my fault!
I'm from the n-o, l-i, m-i to the t
Tru my click, silkk, the shocker, yeah that's me
Now look, money i'm tryin' to make it
Bustas i'm tryin' to break, girls is like
Ooh i love silkk, and then, ooh i hate him!
Cause they can't have me, but i don't look
I can't afford to live average
So senorita, let me walk you to my carriage
Now i don't wanna settle down, but we can do it like we married
Cheese!
Ya don't know what we're going through
Ya don't know the things that cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Ya don't know what we're going through
Ya don't know the things that cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Remix
(That's right) Silkk the Shocker
Uh, Cam'Ron (You ain't know) No Limit
(That's right) Untertainment
(I'm here and there) mo' money
(I'm here and there)
Ya don't know?
Aye yo I just walk wit' ya'll, I don't wanna rhyme
I just need talk wit' ya'll
Mamasita, senortia
I'm lookin' for my wifey
Cats always love me, till they girls start to like me
They don't know I'm sheisty, and all my jewels Icey
Tryin' to settle down Ma, stop actin' all fiesty
Cause 'I don't wanna be a playa no more'
Know it's soft, but I cam with a 'core
For the love of Money, Charli, whoa It Ain't My Fault
Like Silkk, it's so timid, my trunk, it go wit' it
The whole Squad is Terrorin', cats is No Limit
And I'm a diplomat, I'm a dimplomat
Where my honeies at?, where my money at?
That's why we act like that
Clak clak clak!, pat pat pat!
So all you girls bring your thongs and shit
Don't front, cause you know what song this is
Ju don't know
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Yo, yo
All the mami's know me, the Spanish kid wit' the goatee
If this was L.A., I'd be a motherfuckin O.G.
Ya my taste, thick in the waist, pretty in the face
Dominican race, like my twin Triple Seis
Hot as hell, I'm trickin' in
Shorties sharp as nails, the official chick
Reppin Uptown to Harlem World, where we at
I'm up coughin in the ambulance
>From way downtown, they got the Horses and the Carriages
For 40 bucks, you can ride and get ya hug on
Another 20, puff lye and get ya crush on
It's all love, just like the Bud' when ya hit it
Cause way downtown, you know the fuzz is tryin' to hear it
So when ya spark, ya make sure it's in the dark
And most importantly, stay away from Central Park
Cause cops live, just to put away a thug
But not today, cause me and my baby in the Cabaret of Love
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Yo yo yo yo yo yo yo, uhh
I thought I already barked on cats about Russ Hadden
It ain't work, gotta Scream on cats like Wes Craven
Owwwww!, they ain't know I hadn't in me
Like Lil' Kim -- didn't know they had it in me
Don't you know don't you know, we pull up from a show
Cam and chrome bag the hoes, I Prada bags all the dough
And caked out, break out, uh
Horse & Carriage, forced to marriage, been had too many carats
And they ain't know, passin' that down
Where I come from
Ask Jane, that's my dun-dun
How we handle them dumb dumb's
And we like, Siskel and Elbert
We review cats, thumbs up if they they shit's right
And down if they new jack's
You might see Charli, in a Benz or Ferrari
Hennesey or Pacardi, gettin' bent at a party
But I flip, be the new face, cover of Trace
This the motherfuckin remix, we ain't need no {Mase}
Uh huh uh huh
We like it (Slikk the Shocker)
Uh huh uh huh (Cam'Ron, No Limit)
(Untertainment)
(Mo' money, ya heard me)
I live life like a thug, cause time's is rough
Convicted felon; now I like, rhyme for bucks
Ball till I fall, should I say, my time is up
And I cop you diamonds, never diamond cut
Forget the money, cause I could ball with or without the shipment
And I'm down girl, but I could ball with or without the chick
Sillk the Shocker, Cam'Ron, now how you gonna doubt us a hit
(Must be a car), Miss I could pull you, with or without the six
Now I ain't the C-E-O, but I ain't far from it
So if I ain't far from C-E-O
That mean I ain't far from havin' C-E-O money
Can't discuss what I'm worth, but I'm worth this much
Like Mantigo, fall back like snatchin' purses for bust
So many styles - drop a beat, I'ma drop a hit
Rap game stop for the dope game - and cop a brick
No Limit Soldier baby, so watch the talk
Get lost like ohhhhhhh, "It Ain't My Fault!"
I'm from the N-O, L-I, M-I to the T
Tru my click, Silkk, the Shocker, yeah that's me
Now look, money I'm tryin' to make it
Bustas I'm tryin' to break, girls is like
Ooh I love Silkk, and then, ooh I hate him!
Cause they can't have me, but I don't look
I can't afford to live average
So senorita, let me walk you to my carriage
Now I don't wanna settle down, but we can do it like we married
Cheese!
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Ya don't know
Ya don't know what we're going through
Ya don't know the things that Cam is showing you
What we're about to do
You don't know
Ya don't know what we're going through
Ya don't know the things these thugs will do to you
You and your family through
Remix
Yeah
Oh New Monica
So sick
Remix
It’s the remix playa it don’t get any hotta than that
Remix
A hot beat on some wax Monica what you say about that
Im Monica I got people out on every block
And them say you been cheatin what the blood clot
Dem rude boys why you thinks you a hot shot
You come back like them addicts look for crack spots
You must’ve fucked up how dare you got me on lock
You got me open like a chest with pneumonia
I fit ta run up on ya you and ya chicks im here to warn ya
Carzy like them gangs in California
Silly of me
Devoted so much time
To find you unfaithful, boy
I never lost my mind
Drive pass your house every night
In an unmarked car
Wondering what she had on me
To make you break my heart, yeah
{You make me feel}
You make me feel I'm so rea l(So real), oh...
You make me {You make me feel}
Whoa and I love you to love you, baby, I {So gone},
Nights I couldn't sleep, uh
You let the sun beat you home
I asked myself over again
What am I doing wrong
To make you stay out all night
And not think to call
What does she have over me
To make him not think to call home
{You make me feel}
You make me feel I'm so real {So real}, oh...
You make me {You make me feel}
Whoa and I love you to love you, baby, I {So gone},
Aye Busta Rhymes let me know a mans point of view (yeah)
Cause I think all men are dogs and that’s including you
(Well Monica look closer tell me what you see correct your self cause dog backwards is spells god)
see im so gone and I be slappin any kinda chick and I will step to any bitch I think he messin with
(watch what u say and do sometimes I cant ignore it from how you rap and spas over u do and I love you for it)
well im a singer not a fighter but don’t test me imma raise a blade under the tongue as a security
(now what you say first of all u know your still my baby my lady what’s with this crazy shit you talkin crazy)
see bust see im down for my man if he act right but if he out freakin yeah im on the first flight
(I know that you a hot head girl let me continue I don’t mean to patronize you but I love sexy thug in you)
{You make me feel}
You make me feel I'm so real {So real}, oh...
You make me {You make me feel}
Whoa and I love you to love you, baby, I {So gone},
What she do, I do better (Ooh...oh...)
What she do to make you love her (What did she do)
Is it real or forever
Baby, please can't we stay together (Is it real or forever)
What she do, I do better (Yeah, yeah, yeah, yeah)
What she do to make you love her (Yeah, ooh...)
Is it real or forever (Is it real)
[Verse 1]
Remix
We fall asleep naked; we wake up naked
You know what that mean, pussy for breakfast
And I know how she like it, I'm a psychic
I eat it then I go back to sleep, that's that itis
And she be by herself she a loner
Trukfit – I'm the owner
I make her moan call her Mona
I have a threesome if they cloned her
And me I'm purple kush forever
I'm purple drink forever
A dick make her feel retarded, she say I make her feel special
When I ain't thinking 'bout them other hoes
Ever since you put that pussy on me
I told her put that pussy on me right
And I'mma change your life
And don't sit on top of this dick if you scared of heights
And shawty be like
This pussy for you, I ask her is it true and she say like a horseshoe
She got that nigga name covered, that's a war-wound
She lay me on my back and ride this dick like Vroom
[Hook]
Then I turn on the lights, yeah and look in her eyes
Girl that pussy too tight, you need a pussy massage
She got a body like a mermaid, she a plus first-aid
They asked me what's her race and I say first place
Tunechi
[Verse 2]
Tell her I skate
And shawty down the earth, but bitch I need my space
And she gon' ride this dick, I had a long day
She say cum anyway you want, I give a Santa Claus face
We gon' turn up tonight, that pussy feel new
But we been fucking way before I went to Rikers Island
Now she got a man I think he gayer than a stylist
I wish we were both single like a couple dollars
And when we get together she be on that Miley Cyrus
So we eat each other up, like some Somalians
She know I got a girl but she keep this shit a thousand
Whenever we together she don't ever ask about us
She just be like – this pussy for you
I said come and eat this bone, and stop eating dog food
And she got that nigga name covered that's a war wound
And she lay me on my back and then she blow me like boom
[Hook]
Then I turn on the lights, yeah then look in her eyes
Girl that pussy too tight, you need a pussy massage
She got a body like a mermaid, she a plus first-aid
I put her in her place and that's first place
Tunechi
[Outro]
Tell her I skate
I ain't got no worries
No Frank Ocean I'm straight
Tunechi
Tell em' I'm straight
[Lil Flip:]
Remix
Hey Pimpin,
Im Lookin At Ya Jewlry Game And I See U Like Wearin Those Lil Bitty Stones Man,
Get U Some Rocks Man,
Im Tha #1 Fly Boy,
Im In The Building With Mike Jones,
And Free My Nigga Z-Ro Cuz,
[Chorus:]
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Save All That Talkin Cause U Blowin My High Boy
[Verse:]
Im Still Fly, Im Still High, Yeah My Haze Blue
And Screw Made Me, Nigga I Didnt Make Screw
Now Im With Wanner Brothas
My Budget Much Bigga
And Yeah Im Fuck Wit 50 And Yeah I Fuck Wit Jigga
Maybach Coupe, That Bitch All White
If It Aint Front Row, I Aint Goin To Tha Fight
Yall Niggas Missin Flights, And Thats A Damn Shame
You Should Take Ya Show Money And Go And Buy An Airplane
Just Peep Tha Chain, Peep Tha Rang, Peep Tha Grill Boy
You Try To Take It And You Gonna Meet Tha Steel Boy
Im Reppin Texas All Day Im Not A Gimic
You Know Damn Well I Sold The Most Independent
[Chorus:]
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Save All That Talkin Cause U Blowin My High Boy
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin Cause U Blowin My High Boy
[Verse 2:]
When I Pull Up All Tha Hoes Be Tryin To Take A Flick Wit Me
And Yeah Im Strapped Even Though I Got My Click Wit Me
450 Large I Just Let Tha Credit Card Charge
You Drankin Karo, I Be On That Real Bar
Candy Cars Screened Up
Bitch Roll My Green Up
We Fuck Ya Head Up Cuz Me And Mike Teamed Up
Cuz Its A Texas Thang
You Hear My Teaxs Slang
And Err' Thang Cheap If You Want That Teaxs Cane
I Told Kevin Black, I Need Another Plaque
I Stepped My Game Up Dog Im Even Makin Tracks
My Tennis Shoe's Comin, My Watch's Comin Next
So Get Tom On Tha Phone And Tell Em Cut Tha Check
[Chorus:]
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Save All That Talkin Cause U Blowin My High Boy
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin Cause U Blowin My High Boy
[Verse 3: Mike Jones]
I Keep 22's On My Foriegn Whips And 84's On My Hood Car
Before Tha Album Sold 1.5 Tha Streets Know Ive Been Good Boy
Got Tha Best Drops, Best Broads
Best Diamonds, Best Cars
Best Lean, Best Green
Best Clothes And Best Bar
Ice Age And Clover G's Fly Private Jets Over Seas
You Mad At Me Cause Your Baby Girl Wanna Leave You And Come Fly Wit Me
I Said Ice Age And Clover G's Fly Private Jets Over Seas
You Mad At Me Cause Your Baby Girl Wanna Leave You And Come Fly Wit Me
Cuz Imma Fly Boy, Roll Around In Em Fly Toys
Save All That Talkin Cause U Blowin My High Boy
I Said Cuz Imma Fly Boy, Roll Around In Em Fly Toys
Save All That Talkin Cause U Blowin My High Boy
[Chorus:]
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Ima Fly Boy, Ima Ima Fly Boy
Save All That Talkin Cause U Blowin My High Boy
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin
Ima Fly Boy, Ima Ima Fly Boy, Save All That Talkin
(Remix)
I can't believe I'm here
Down at the Q's Jook Joint (no doubt)
It sure is happenin' y'all (on this remix)
But listening to this music
Kinda makes me think about when I used to listen to slow jams
Back in the day (yeah)
Like Babyface, Whip Appeal (no doubt)
Or R. Kelly, Bump And Grind
But you know what (what?)
Sometimes when I'm just layin' down with my man (yeah)
I get the feelin' I need to hear a little Barry White (no doubt)
Show you right (show you right)
Then there are other times when I just need a little Sexual Healing
Of Marvin Gaye (it's the now, baby)
(Remix)
What about some Teddy Pendergrass? (no doubt)
Close the door and turn out the lights (remix)
Feels so good baby, yeah
Yes (ah)
Yeah baby
(Remix) Baby (Slow Jams, remix)
Baby, oh yeah
(Babyface)
Baby dim the lights
So while I pour the wine
Set the music up nice and slow
Wanna move with you inside a groove
Like no one's ever known
Let your body unwind and walk the mile
Tell me what you like
'Cause tonite I wanna turn you up to paradise
Sweet thang hold me close
Share my desire
And we can make the magic flow
Once the music is rocking
Give me slow jams and hot romance
Rock me with that tender dance
Baby get closer so we can feel the power of love
Share my sweet groove the whole night through
Let me lay my beat on you
We'll keep the music playing movin' in time
Let me get a taste of some Babyface
And you know it'll be alright
'Cause the road that ends at Boyz II Men
Is the road I wanna ride
We can go to the moon on a Stevie tune
Fly ribbons in the sky
Give me everything R. Kelly sings
Let us bump and grind
Baby feel the beat
Here in my heart
Move with me in ecstacy
Let the melody start
Give me slow jams and hot romance
Rock me in that tender dance
I wanna feel the passion so give me all you got
Share my sweet groove the whole night through
Make tonight a dream come true
Let's keep this groove thing going and never never never let it stop
It's something that feels so right
Take this side of your rhythm
Baby tonight's your night
When I feel your beat inside my soul
It's a do me groove I know I can't control
Sweet thang hold me close
Share my desire
We can make the magic flow
Once the music is rockin'
Give me slow jams and hot romance
Rock me with that tender dance
I wanna feel the passion so give me all you got
Share my sweet groove the whole night through
Let me lay my beat on you
Let's keep this good thing going
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2008) |
A remix is an alternative version of a recorded song, made from an original version. Sometimes this term is also used for alterations of media or recreation other than song (film, literature, beverages etc.).
A remixer uses audio mixing to compose an alternate master recording of a song, adding or subtracting elements, or simply changing the equalization, dynamics, pitch, tempo, playing time, or almost any other aspect of the various musical components. Some remixes involve substantial changes to the arrangement of a recorded work, but many are harmonic, such as creating a "vocal up" version of a song that emphasizes the lead singer's voice. Contemporary remixes are often produced in a Digital Audio Workstation (DAW), which allow producers to reorganize tracks and apply various effects.
Songs are remixed for a variety of reasons:
Remixes should not be confused with edits, which usually involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix and a cover. A remix song recombines audio pieces from a recording to create an altered version of the song. A cover is a recording of a song that was previously recorded by someone else.
Contents |
Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or novelty recordings of various types.
Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica. The fluid evolution of music that encompassed ska, rocksteady, reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes. At first they simply dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks, and adding various effects like echo, reverberation and delay.
From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure).[1] Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian.
Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip hop music. Key figures included DJ Kool Herc and Grandmaster Flash. Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track "Rockit" by Herbie Hancock, as remixed by Grand Mixer D.ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock."
Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl 12-inch singles. These typically had a duration of six to seven minutes, and often consisted of the original song with 8 or 16 bars of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end. As the cost and availability of new technologies allowed, many of the bands who were involved in their own production (such as Yellow Magic Orchestra, Depeche Mode, New Order, Erasure, and Duran Duran) experimented with more intricate versions of the extended mix. Madonna began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ John Jellybean Benitez, who created several memorable mixes of her work.
Art of Noise took the remix styles to an extreme—creating music entirely of samples. They were among the first popular groups to truly harness the potential that had been unleashed by the synthesizer-based compositions of electronic musicians such as Kraftwerk, Yellow Magic Orchestra, Giorgio Moroder, and Jean Michel Jarre. Contemporaneous to Art of Noise was the seminal body of work by Yello (composed, arranged and mixed by Boris Blank). Primarily because they featured sampled and sequenced sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase. Others such as Cabaret Voltaire and the aforementioned Jarre (whose Zoolook was an epic usage of sampling and sequencing) were equally influential in this era.
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28 second sample of the Ultrabeat and Scott Brown vocal remix.
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After the rise of dance music in the late 1980s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the house music idiom. A clear example of this approach is Roberta Flack's 1989 ballad "Uh-Uh Ooh-Ooh Look Out (Here It Comes)", which Chicago House great Steve "Silk" Hurley dramatically reworked into a boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced "track" to underpin her vocal delivery. The art of the remix gradually evolved, and soon more avant-garde artists such as Aphex Twin were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and the others), which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake."
In the 1990s, with the rise of powerful home computers with audio capabilities came the mash-up, an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together. Girl Talk is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own. Underground mixing is more difficult than the typical official remix, because clean copies of separated tracks such as vocals or individual instruments are usually not available to the public. Some artists (such as Björk, Nine Inch Nails, and Public Enemy) embraced this trend and outspokenly sanctioned fan remixing of their work; there was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially sanctioned mixes. Other artists, such as Erasure, have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band have also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases.
Remixing has become very prevalent in heavily synthesized electronic and experimental music circles. Many of the people who create cutting edge music in such genres as synthpop and aggrotech are solo artists or pairs. They will often use remixers to help them with skills or equipment that they do not have. Artists such as Chicago-based Delobbo, Dallas-based LehtMoJoe, and Russian DJ Ram, who has worked with t.A.T.u, are sought out for their remixing skill and have impressive lists of contributions. It is not uncommon for industrial bands to release albums which have remixes as half of the songs. Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists.
Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails, whose website contains a list of downloadable songs that can be remixed using Apple's GarageBand software. Some artists have started releasing their songs in the U-MYX format, which allows the buyers to mix songs and share them on the U-MYX website.
Remixes have become the norm in contemporary dance music, giving one song the ability to appeal across many different musical genres or dance venues. Such remixes often include "featured" artists, adding new vocalists or musicians to the original mix. The remix is also widely used in hip-hop and rap music. An R&B remix usually has the same music as the original song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the original verses of the song however, these verses may be arranged in a different order depending on how the producers decided to remix the song.
In the early 1990s, Mariah Carey became one of the first mainstream artists who re-recorded vocals for a dancefloor version, and by 1993 most of her major dance and urban-targeted versions had been re-sung, e.g. "Dreamlover". Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken (the songs were "re-cut", usually from the ground up). In 1988, Sinead O'Connor's art-rock song "I Want Your (Hands On Me)" was remixed to emphasize the urban appeal of the composition (the original contains a tight, grinding bassline and a rhythm guitar not entirely unlike Chic's work). M.C. Lyte was asked to provide a "guest rap," and a new tradition was born in pop music. George Michael would feature three artistically differentiated arrangements of "I Want Your Sex" in 1987, highlighting the potential of "serial productions" of a piece to find markets and expand the tastes of listeners. In 1995, after doing "California Love", which proved to be his best selling single ever, Tupac Shakur would do its remix with Dr. Dre again featured, who originally wanted it for his next album, but relented to let it be on the album All Eyez on Me instead. This also included the reappearance of Roger Troutman, also from the original, but he ended the remix with an ab lib on the outro. Another well-known example is R. Kelly, who recorded two different versions of "Ignition" for his 2003 album Chocolate Factory. The song is unique in that it segues from the end of the original to the beginning of the remixed version (accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of the remix.") In addition, the original version's beginning line "You remind me of something/I just can't think of what it is" is actually sampled from an older Kelly song, "You Remind Me of Something". Madonna's I'm Breathless featured a remix of "Now I'm Following You" that was used to segue from the original to "Vogue" so that the latter could be added to the set without jarring the listener.
Many hip-hop remixes arose either from the need for a pop/R&B singer to add more of an urban, rap edge to one of their slower songs, or from the need for a rapper to gain more pop appeal by getting an R&B singer to sing some lines here and there. When a song by a solo artist does not take off, a remix with additional performers can give the song a second chance.
Thanks to a combination of guest raps, re-sung or altered lyrics and alternative backing tracks, some hip-hop remixes can end up being almost entirely different songs from the originals. An example is the remix of "Ain't It Funny" by Jennifer Lopez, which has little in common with the original recording apart from the title.
Slow ballads and R&B songs can be remixed by techno producers and DJ's in order to give the song appeal to the club scene and to urban radio. Conversely, a more uptempo number can be mellowed to give it "quiet storm" appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler. These remixes proved hugely influential, notably Lisa Stansfield's classic single "Change" would be aired by urban radio in the Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers.
John Von Seggern of the ethnomusicology department at the University of California, Riverside says that the remix "is a major conceptual leap: making music on a meta-structural level, drawing together and making sense of a much larger body of information by threading a continuous narrative through it. This is what begins to emerge very early in the hip-hop tradition in works such as Grandmaster Flash's pioneering mix recording Adventures on the Wheels of Steel. The importance of this cannot be overstated: in an era of information overload, the art of remixing and sampling as practiced by hip-hop DJs and producers points to ways of working with information on higher levels of organization, pulling together the efforts of others into a multilayered multireferential whole which is much more than the sum of its parts."
A remix may also refer to a non-linear re-interpretation of a given work or media other than audio. Such as a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the original designer/artist. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. Mark Z. Danielewski's disjointed novel House of Leaves has been compared by some to the remix concept.
A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the 1960s.[2] Various textual sources (including his own) would be cut literally into pieces with scissors, rearranged on a page, and pasted to form new sentences, new ideas, new stories, and new ways of thinking about words.
Naked Lunch (1959) is a famous example of an early novel by Burroughs based on the cut-up technique. Remixing of literature and language is also apparent in Pixel Juice (2000) by Jeff Noon who later explained using different methods for this process with Cobralingus (2001).
A remix in art often takes multiple perspectives upon the same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work. It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include the Marilyn prints of Andy Warhol (modifies colors and styles of one image), and The Weeping Woman by Pablo Picasso, (merges various angles of perspective into one view). Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. For example, his painting Les Trois Danseuses, or The Three Dancers, is about a love triangle.
Other types of remixes in art are parodies. A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. They can be found all throughout art and culture from literature to animation. Current television shows are filled with parodies such as South Park, Family Guy, and the Simpsons.
The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.net (provides pictorial template upon which any words may be written by various anonymous users), and Dan Walsh's Garfieldminusgarfield.net [1] (removes the main character from various original strips by Garfield creator Jim Davis).
In recent years the concept of the remix has been applied analogously to other media and products. In 2001, the British Channel 4 television program Jaaaaam was produced as a remix of the sketches from the comedy show Jam. In 2003 the Coca-Cola Corporation released a new version of their soft drink Sprite with tropical flavors under the name Sprite Remix.
Remix production is now often involved in media production as a form of parody. Scary Movie series is famous for its comic remix of various well-known horror movies such as Ring, Scream, and Saw. This form of remix is also used in advertisements, creating parodies of famous movies, TV series, etc. For example, McDonald published a commercial poster that parodied the movie Dark Knight.
Because remixes may borrow heavily from an existing piece of music (possibly more than one), the issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a derivative work according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of collage, which can be plagued with licensing issues.
There are two obvious extremes with regard to derivative works. If the song is substantively dissimilar in form (for example, it might only borrow a motif which is modified, and be completely different in all other respects), then it may not necessarily be a derivative work (depending on how heavily modified the melody and chord progressions were). On the other hand, if the remixer only changes a few things (for example, the instrument and tempo), then it is clearly a derivative work and subject to the copyrights of the original work's copyright holder.
The Creative Commons non-profit group created the ccMixter website to provide remixers with creative material licensed for remixers to use with permission. A number of netlabels have similarly used liberal licensing to facilitate remixing.
The Fair Use agreement allows users to use copyrighted materials without asking the permission of the original creator (section 107 of the federal copyright law).Within this agreement, the copyrighted material that is borrowed must be used under specific government regulations. Material borrowed falls under fair use depending on the amount of original content used, the nature of the content, the purpose of the borrowed content, and the effect the borrowed content has on an audience. Unfortunately, there are no distinct lines between copyright infringement and abiding by fair use regulations while producing a remix.[3] . However, if the work that is distributed by the remixer is an entirely new and transformative work that is not for profit, copyright laws are not breached.
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