Right or Wrong?: Bangladesh


“All the producers in [‘Mass Appeal’], they strive for certain things,” he continued. “Like Polow will go in and say we need to make a pop record, we gotta make a Top 40 and that’s what he’ll make. See, I create organically and it becomes mass appealed. That’s why I feel like I’m better. I don’t do what is going to make me money or what the DJs are going to want to play. I just do me. And everything that I’ve done has been knocked down in the beginning, but at the end of the day it sticks to the walls. It don’t take a label to back it up, it just blows because people want different shit.”

“Honestly, I’m better than all them peoples. I’m not disrespecting them because I was influenced by Timbaland and Neptunes and all of them, but your time came and went. There’s time for other things to happen.”

“A lot of them producers, some have a sound and some don’t. I think Polow kinda does whatever, he doesn’t have a certain sound, he emulates other peoples stuff. To me, he’s probably a well-sought-out producer, but at the same time its about who you’re with, who you’re around, who’s getting you the work,” he continues. “I don’t have assistance so I’m not in Jimmy Iovine’s face. I don’t get all the Interscope work, I create the work. That makes me better because I don’t have people in my pocket. My sound is so powerful that the artist love it and it skips all the middle men. All my beats have been placed by getting it directly to the artist. I don’t really need nobody cosigning.”

There’s a reason The Neptunes are still around. They are real producer’s involved in every aspect of making a record.

Say what you want about Polow, but The Neptunes can play, arrange , write, you name it they can do it. Not many producers have lasted over 15 years, especially in hip hop.

Timbaland can re-invent his style whenever his sound gets heavily imitated.

I’m not even a fan of Polow Da Don’s Garageband beats either.

Yes, he already had the connections from his former record deals at Sony and Interscope. But it turned out he was one of the best drum programmers around.  He was highly sort after by many producers such as Will I Am,Ron Fair, Jazze Pha to program drums, often going uncredited, just like Brian Kidd and Nisan Stewart.

Bangladesh’s sound was innovative, but it wasn’t groundbreaking. 808’s been around since Miami Bass music, Luke and 2 Live Crew.

His earlier beats with Ludacris are completely different to his current 808’s and part clap, part snare.

He should stop feeling himself too much, because he will become extinct if he doesn’t change his style up. It happens to nearly every producer at one point.

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About Harlem World

the BAWSE *ross grunt*

Posted on April 23, 2010, in Uncategorized. Bookmark the permalink. Leave a comment.

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