Seeing as how I (i) haven't had time to post anything new, (ii) don't have anything remotely interesting to say, and (iii) can't muster up the energy to get past the ennui preventing me from having anything remotely interesting to say, I'm a-gonna let others do the talkin'.
It Takes a Nation of Millions is in the press a lot again, lately. It's the __th anniversary of said album, and there's yet been another hip hop album (or an album from any genre, really) to match the denseness both musically and politically.
This issue of WaxPoetics features a piece on the Bomb Squad and the making of Nation of Millions, which had two interesting bits: (i) the Bomb Squad made intentional errors in production to give the album a certain vibe, much along the lines of ?uesto playing continously off-beat on many of the Soulquarian albums, and (ii) since the crackdown on sampling (which was due in no small part to the Turtles v De La Soul case - which I happened upon this morning solely because I was trying to place a sample that En Vogue used in "Ooh Child" that De La had used eons ago, a sample so obvious that I'm embarrassed not to know it), hip hop albums have been set in a Dre blueprint, riding on a "groove" pattern of Da Chronic rather than the "music collage" pattern of the Bomb Squad (which, at times during Hank Shocklee's interview sounded alot like Phil Spector's Wall of Sound)(Shocklee also comes across like Brian Wilson sometimes, constantly referring to "the frequencies" and man's base/bass vibrations).
Here's another piece on the album by Soul-Sides pal Hua Hsu from The Boston Globe, and the Stay Free article much referenced in WaxPoetics.
My question is this: given the seeming non-regard for copyright nowadays with the popularity of internet-only remixes, mash-ups, and the old school hip hop mixtape/cd/dvd, what's stopping some underground folk from doing something along the same lines as the Bomb Squad? Lemme know if I've missed the boat on something.