Woman in 1908 playing records on a Victrola phonograph.
For those who think a vinyl, cassette or CD collection in 2014 is worthless, you may want to think again. Vox Media writer, Kelsey McKinney‘s article discusses how rapidly we are losing cultural links to previous decades, and what archivists are doing to preserve as much music as possible. Read her story here.
A friend of mine said hey check this song out. It’s a great song. I’m like yo this shit is dope, then I’m like what…what….Oh hell naw for real.
Did anybody notice this? WTF. Was this controversial or did this just fly under radar. He straight jacked my mans and ran along like the shit was his. He took a passionate song and he turned it into holla at ya boy song. I know hip hop does this shit to but dude it’s Rod Fucking Stewart. Did Bobby get paid for this? Probably not. He didn’t even flip it. He Puff Diddy’d the shit. Smh. You Rod should be ashamed. And I actually like Rod Stewart……..
And he wasn’t even done. He had the nerve to jack Jorge Ben to. Rod’s a prick. Probably didn’t pay him either. While he pranced around the world getting laid off his weak ass song. I thought you were an upstanding Brit Rod. Then years later you do a cover album butchering Motown songs cuzz they inspired you. Really? Look Rod paying tribute is to not fuck up other peoples songs, it’s properly giving them credit and money when you decide to steal they shit. Fuck you Rod. Have a nice day:)
Cover of Nasty Gal
Betty Davis
Nasty Gal/Is It Love or Desire
By: Mildred C. Fallen
Betty Davis was arguably one of the funkiest artists of the 1970s and one of Hip Hop and Punk-Funk’s first influences, but her reputation for having vulgar lyrics and a nasty girl image preceded her talent in the eyes of critics. Maybe this generation, who’s used to hearing women sing and rap dirty ditties will be less remiss to call Davis’ soft core pillow talk X-rated and find her CD reissues ahead of their time. But what critics often overlook—the lyrics aren’t just graphic—they’re autobiographic. She addresses her critics on “Dedicated to the Press,” and Davis’ influence on Prince is obvious, down to her spine-tapping shrieks and lyrics about whether her freakiness traces back to her Mama. Her raps to ex-husband, Miles Davis on “Stars Starve You Know” size up the black and female rocker’s lament of being the wrong color and gender looking for gigs. She flaunts her anti-disco sentiments on “Bottom of the Barrel,” and in a melodic rap style like West Coast femcee, Medusa, she unremorsefully gets inebriated seven days straight on “Bar Hoppin’”. Vocally, she’s no Aretha; she’s a growling, self-gratuitous dominatrix one minute (“Nasty Gal”) or purring like a starved kitty the next (“It’s So Good”) and she’s often scratchy sounding like liquor and late nights take their toll. A nameless band of musicians from Louisiana pick and play some of the swampiest, gut-bucket funk that ever came out of the Bayou. What’s not to like?
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Check out some Betty, and you’ll see why this got a “LOUD” rating in Ghettoblaster Magazine last year.09-betty-davis-bar-hoppin
Discography:Betty+Davis
Shoo-B-Doop and Cop Him, from They Say I’m Different, used by IceCube on “Once Upon A Time in the Projects”:
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The Vinyl Room 