FeverPitch2
Superstar
NY hip-hop had been sample based with some degree of grit until 1994.
That year hip-hop started getting more radio friendly and glossy, even if the language and subject matter was still coarse.
This may have had to do with the wild success over at Death Row on the back of Dre's slick and glamorous sounding beats.
The men who started this segue for NY hip-hop were Jean-Claude Olivier and Samuel Barnes, individually known as Poke and Tone (aka Red Hot Lover Tone) respectively.
They were best known as the production team Trackmasters.
Trackmasters drew the ire of the "keep it real" contingent, at the same time racking up huge crossover hits.
This distaste for the Trackmasters style would have a severe impact on Nas' 1996 sophomore album, It Was Written.
Though some hard core emcees were dissing them, just as many hardcore emcees were requesting their services
Their breakthrough was reviving the career of LL Cool J for a second time with his 1995 album Mr. Smith.
After that, it was no longer taboo to have a Trackmasters joint.
At this point, other NY beatmakers started to emulate them.
Particularly Puffy's production team, The Hitmen.
Hardcore emcees bristled at what they called Puff's "shiny suit" style of hip-hop.
Even with that, The Hitmen's sound was still mostly sample based.
1998 was where the transformation completed.
By the end of the 90's, hip-hop sounded completely different than it did at the beginning of the decade.
Hip-hop beats didn't even have samples anymore. The samples had been replaced by female R&B vocals.
R&B songs were more likely to have samples than hip-hop joints.
That year hip-hop started getting more radio friendly and glossy, even if the language and subject matter was still coarse.
This may have had to do with the wild success over at Death Row on the back of Dre's slick and glamorous sounding beats.
The men who started this segue for NY hip-hop were Jean-Claude Olivier and Samuel Barnes, individually known as Poke and Tone (aka Red Hot Lover Tone) respectively.
They were best known as the production team Trackmasters.
Trackmasters drew the ire of the "keep it real" contingent, at the same time racking up huge crossover hits.
This distaste for the Trackmasters style would have a severe impact on Nas' 1996 sophomore album, It Was Written.
Though some hard core emcees were dissing them, just as many hardcore emcees were requesting their services
Their breakthrough was reviving the career of LL Cool J for a second time with his 1995 album Mr. Smith.
After that, it was no longer taboo to have a Trackmasters joint.
At this point, other NY beatmakers started to emulate them.
Particularly Puffy's production team, The Hitmen.
Hardcore emcees bristled at what they called Puff's "shiny suit" style of hip-hop.
Even with that, The Hitmen's sound was still mostly sample based.
1998 was where the transformation completed.
By the end of the 90's, hip-hop sounded completely different than it did at the beginning of the decade.
Hip-hop beats didn't even have samples anymore. The samples had been replaced by female R&B vocals.
R&B songs were more likely to have samples than hip-hop joints.
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