A Quote by Brantley Gilbert
A lot of rap music can get repetitive.
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A lot of Utah State when I was there, there was a lot of California guys. So, you get a lot of Cali music, you got a lot of dance music, I think the Jerk was popular back then. It was a lot of the music that you can dance to with your teammates. A lot of hip-hop, rap, R&B, it was really fun. It was live in there.
I grew up listening to a lot of emo music, a lot of rock music, a lot of rap music, a lot of trap music, funk, everything.
I don't have any sympathy for the subject matter, [but] I have great respect for rap artists. In fact, not for the rap artists, but the people who make the music over which they rap. Rap music - the music itself is incredible - but [the people that make the music] are hardly ever credited.
I've never been a rap guy, I don't really know that much about rap music, to be honest. I like it, but I think what really happened was just my music seems to work so well with rap music.
Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.
I feel like when it comes to rap - like, real rap music - and knowing the pioneers of rap, I feel like there's no competition for me in the NBA. Other guys can rap, but they're not as invested or as deep into actual music as I am and always have been. I think that might be what the difference is. I'm more wanting to be an artist.
I'm not turning my back on music anytime soon, but it's just a blessing to have options open. A lot of artists just have rap, and that's it. But once rap stops, it's hard to get into that Hollywood circle; it really is. It's a whole 'nother beast that people think they're ready for, but they're really not.
Once I get into the locker room, I turn on stuff to get me hyped up. Mainly, it's a lot of rap music.
New Orleans is just so full of culture in the music content - blues, folk. I was introduced to a lot of things. My mother didn't keep me away from other music. She only kept me away from rap. The closest I got to rap was D'Angelo.
There is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC.
I grew up listening to a lot of rap music. My dad's a DJ from Brooklyn, and he's a very soulful guy, so he always spun a lot of hip-hop, and that's where I get a lot of my hip-hop influence.
When you've been raised in care, rap music isn't just about guns and sexism. They're talking about real things you can hang on to, problems of identity that you have sympathy with. It's not just about the music, with rap: when I was in care, it meant a whole lot more than that.
When I was in London I found house music and techno, and I love that s - t. It's my go-to music. It's the closest for me to the old funk of James Brown and the repetitive dance music that I like from the soul music. I'd love to do a live album, like a little bit old school but still progressive, influenced maybe by more electronic music. I like everything, but I don't know anything about music. So it comes in to a lot of different ingredients.
You gotta do a lot more than rap. Rap is not just rap. If you don't have an image, you're not capturing nobody's attention.
My music is airy; it's spacious. It requires you to be able to rap and articulate your message over it. That's what the beat demands of you. Not a lot of people try to rap over my beats because it's a bit of a task.
I'm into a lot of music, definitely a lot of rap. 'Dedication 4', the Lil' Wayne album. Actually, I've been getting into some Swedish house music; the beat just keeps me going a little bit.
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