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| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| Quincy_Jones-The_Dude_(1981)-WEB-2018-SOUNDz_iNT |
| --------------------------------------------------------------------- |
| |
| Artist______________ Quincy Jones |
| Title_______________ The Dude |
| Label_______________ A&M Records |
| Genre_______________ Jazz+Funk |
| Year________________ 2018 |
| Release Date________ 2021-03-09 |
| Street Date_________ 2018-07-06 |
| Source______________ WEB |
| Encoder_____________ MP3 / LAME |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 95.1MiB |
| Playtime____________ 0:41:22 |
| URL_________________ https://amazon.com/dp/B07F424VF7/ |
| |
| |
| 1. Ai No Corrida (feat. Dune) 06:26 |
| 2. The Dude 05:38 |
| 3. Just Once 04:33 |
| 4. Betcha Wouldn't Hurt Me 03:47 |
| 5. Something Special 03:58 |
| 6. Razzamatazz 04:16 |
| 7. One Hundred Ways (feat. James Ingram) 04:19 |
| 8. Velas 04:06 |
| 9. Turn On The Action 04:19 |
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| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| |
| One day while the rapper and producer MF Doom was sequestered away |
| from the world writing his 1999 solo debut, Operation: Doomsday, the |
| sound of Quincy Jones' "One Hundred Ways" came on the radio. Doom |
| became smitten with an instrumental section of the track that |
| includes Greg Phillinganes' electric synth solo. He'd later chop up |
| the sample and use it as the basis for his own kooky "Rhymes Like |
| Dimes," adding another crate-digging reference to an album that |
| sampled heartily from the similarly warming sounds of '80s R&B |
| artists like the S.O.S. Band, Atlantic Starr, and the Deele. |
| |
| "One Hundred Ways" originally appeared on Jones' 1981 album The Dude. |
| The voice you hear when Doom lets the sample spill over belongs to |
| James Ingram, who was making his debut on the LP. And while the |
| moment conjures up the entertaining image of Doom in a metal mask |
| casually rapping along to the radio, it also raises the deeper |
| suggestion that the music of bandleaders like Jones-along with James |
| Brown, Roy Ayers, and Isaac Hayes-has proved to be so fertile for |
| hip-hop producers because it's made with the spirit of collaboration |
| in mind. Records like these sketch out funky templates and trust |
| guest musicians to stamp the tune with their own identity, much in |
| the manner of a producer repurposing a sample into something fresh |
| but also evocative of its original source. |
| |
| The cast list involved across The Dude's nine songs underscores this |
| point. Along with Ingram, there are contributions from Michael |
| Jackson, Patti Austin, Herbie Hancock, and Stevie Wonder. English R&B |
| keyboardist and craftsman Rod Temperton, who would go on to pen |
| "Thriller" and George Benson's "Give Me the Night," notches four |
| songwriting credits, while Chas Jankel, from funked-up punk outfit |
| Ian Dury and the Blockheads, scores a co-writing credit by virtue of |
| Jones covering "Ai No Corrida," which originally appeared a year |
| earlier on Jankel's debut album. The Dude is a Quincy Jones solo |
| project in name, but this post-disco pop-soul cornucopia of groove |
| resonates as a testament to his ear for anticipating new sounds. |
| |
| The album struts into life with the aforementioned "Ai No Corrida," |
| an ebullient, Latin-infused dance track with a rhythm section that |
| pumps and shuffles along with four-to-the-floor swagger before the |
| sugary chorus worms its way into your memory. Jones smoothes out |
| Jankel's original vision while introducing perky and infectious |
| handclaps to the song. Next comes the slap-bass pomp of the title |
| track, a Blaxploitation vignette that stars a character whose main |
| attribute is simply being cool. It's narrated by Ingram, includes |
| backing vocals from Jackson, and at one point nods to the nascent |
| hip-hop scene by breaking into a braggadocio rap that even by |
| early-'80s standards sounds like it was recited by someone's grandpa: |
| "I graduated from the college of the streets/I got a Ph.D in how to |
| make ends meet." |
| |
| The vibe switches dramatically as Ingram steers the session into |
| quiet storm territory with the sentimental "Just Once," before |
| Stevie's synth wizardry and Austin's vocals amp up the moody funk of |
| "Betcha' Wouldn't Hurt Me." Elsewhere, "Razzamatazz" is a pulsing |
| dancefloor outing spiked with rousing horns, and "Velas" brings the |
| album into a gentler, jazz-influenced zone complete with Toots |
| Thielemans' harmonica lines. |
| |
| The Dude's eclectic mix of styles and sometimes bumpy song sequencing |
| risk making it an uneven listen, albeit under Jones' savvy |
| stewardship, everything is seamlessly blended together. The music has |
| an almost electronic slickness, as if Jones is signposting a way to |
| turn a traditional jazz and soul grounding in a more radio-friendly |
| direction. |
| |
| A year after the release of The Dude, Quincy Jones and Michael |
| Jackson would achieve pop perfection with Thriller. The shadow of |
| that power move leaves The Dude as an open sketchbook of sorts, with |
| Jones showcasing styles, introducing personnel, and prompting other |
| musicians to take his template and run with it to commercial success. |
| A wave of smooth R&B artists would readily take up the offer, and |
| Herbie Hancock would build on Jones' nod to hip-hop through the |
| electro shock of "Rockit" in 1983. The musicians that Jones' vision |
| influenced would in turn inspire artists like MF Doom to repurpose |
| Jones' grooves all over again, proving The Dude's prescient vision |
| and enduring cool. |
| |
| |
| Abraham Laboriel - bass |
| Louis Johnson - bass, handclaps |
| John Robinson - drums, handclaps |
| Robbie Buchanan - electric piano, keyboards |
| Greg Phillinganes - electric piano, synthesizer, handclaps |
| Steve Lukather - guitar |
| Toots Thielemans - guitar, harmonica |
| David "Hawk" Wolinski - keyboards, clavinet |
| Stevie Wonder - keyboards, synthesizer |
| James Ingram, Patti Austin - lead vocals, backing vocals |
| Paulinho Da Costa - percussion |
| Lenny Castro - percussion, handclaps |
| David Foster, Herbie Hancock - piano, electric piano |
| Quincy Jones - producer, vocals, arranged by |
| Ernie Watts, Kim Hutchcroft, Larry Williams - saxophone, flute |
| Ian Underwood, Michael Boddicker - synthesizer |
| Bill Reichenbach - trombone |
| Chuck Findley - trumpet |
| Jerry Hey - trumpet, flugelhorn |
| Charles May - vocals |
| |
| Recorded & mixed by Bruce Swedien at Westlake Audio, Los Angeles, |
| California. |
| "Toots" Thielemans performances on "Velas" recorded at RKM Studios, |
| Brussels, Belgium. |
| Mastered at A&M Recording Studios. |
| |
| |
| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
| |
| |
| . . |
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