Yevette heard "Hotel Hilton Serengeti 2100" first and her reaction was the music was good but she had not much use for the voice. She thought that Barry White voice was too much, too powerful, etc.
Fair enough as that's what she heard. That's not my first preference for what she would hear as the big win, here and in Germany, is 'that was fucking cool.' There is another ultimate compliment when another musician calls your play 'tasty' but that one is too much inside whereas everyone knows what 'fucking cool' means.
Yevette mentioned Barry White as anyone with a deep voice has to be Barry White because he so owns that style but that's the only resemblance I heard in it. My thinking was more toward Max Headroom, a processed electro-voice which is still human ... but only just. Proto-Max wasn't trying to Barry White as I was actively aware of affecting any mannerism which might be thought 'pretending to be black' or pretending to be an African.
There may be another shot at the song as the content is important to me and I like the dynamics of the musical aspect of the song. There's more more freedom to do that in making tracks rather than using a looper and that still doesn't make me love making tracks but it's a good payoff. There is no thinking toward changing the music particularly but there may be another go at the vocal. My feeling is it has to be spoken rather than sung but not as some old guy rap. That would be fine, it just isn't this song.
The vocal is the second live take as I junked the first, smoked a bowl, and went straight into another one. There was no script to it because the first 'process' in what I'm doing is always impressionism. Maybe it turns out to be a bad impression but that's what it was at that time. That's an article by itself and the point just now is there's no reason to adhere to what was recorded in that track as that was what occurred to me at that time. Maybe something altogether different comes if I do it again.
Singing it does not strike me as appropriate as Cecil was the King and singing some blues song for him is anemic. We want to show some power for the King as that's his world and making wimpy love songs is mine, at least when my world is not starting fires, etc.
The song is important to me as trophy killing exemplifies a sociological phenomenon of entitlement for rich white people in which anything goes so long as you have enough money to bribe people to do it. I like it that this topic addresses that theme without any need to hammer it by stating it specifically. It's also true the Serengeti will become like Miami Beach ... if we let it. Seeing the Serengeti has been a dream all my life and I doubt I'll make it but I absolutely want it to be there just as it is now for some other kid who does manage to pull off that dream.
Fair enough as that's what she heard. That's not my first preference for what she would hear as the big win, here and in Germany, is 'that was fucking cool.' There is another ultimate compliment when another musician calls your play 'tasty' but that one is too much inside whereas everyone knows what 'fucking cool' means.
Yevette mentioned Barry White as anyone with a deep voice has to be Barry White because he so owns that style but that's the only resemblance I heard in it. My thinking was more toward Max Headroom, a processed electro-voice which is still human ... but only just. Proto-Max wasn't trying to Barry White as I was actively aware of affecting any mannerism which might be thought 'pretending to be black' or pretending to be an African.
There may be another shot at the song as the content is important to me and I like the dynamics of the musical aspect of the song. There's more more freedom to do that in making tracks rather than using a looper and that still doesn't make me love making tracks but it's a good payoff. There is no thinking toward changing the music particularly but there may be another go at the vocal. My feeling is it has to be spoken rather than sung but not as some old guy rap. That would be fine, it just isn't this song.
The vocal is the second live take as I junked the first, smoked a bowl, and went straight into another one. There was no script to it because the first 'process' in what I'm doing is always impressionism. Maybe it turns out to be a bad impression but that's what it was at that time. That's an article by itself and the point just now is there's no reason to adhere to what was recorded in that track as that was what occurred to me at that time. Maybe something altogether different comes if I do it again.
Singing it does not strike me as appropriate as Cecil was the King and singing some blues song for him is anemic. We want to show some power for the King as that's his world and making wimpy love songs is mine, at least when my world is not starting fires, etc.
The song is important to me as trophy killing exemplifies a sociological phenomenon of entitlement for rich white people in which anything goes so long as you have enough money to bribe people to do it. I like it that this topic addresses that theme without any need to hammer it by stating it specifically. It's also true the Serengeti will become like Miami Beach ... if we let it. Seeing the Serengeti has been a dream all my life and I doubt I'll make it but I absolutely want it to be there just as it is now for some other kid who does manage to pull off that dream.
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