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Marvin Gaye’s self-described "seven-year shit period" started in 1975: two overlapping divorces, crushing debt, depression, addiction, paranoia. Is President" / Eric B & Rakim: " I Know You Got Soul" To its credit, the "Madness" remix isn't a full-on reimagining: By keeping things rooted in Ra's voice and "Ashley's Roachclip", every passing sample only seems to serve as a kind of hosannah, another celebration of the miracle the God MC has made. Coldcut throw anything and everything at "Paid in Full": Humphrey Bogart, James Brown, Don Pardo, Ofra Haza. Now this is a journey into sound: the original-that Soul Searchers loop, that Dennis Edwards bassline, Ra's godly verse-is expanded out, scribbled on, dotted with exclamation marks.
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"Paid in Full" unfolds in monochrome UK production duo Coldcut's kaleidoscopic "Seven Minutes of Madness" remix, on the other hand, paints the song in full-on Technicolor.
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In just a few words, Rakim gives you his past, his present, and future, says peace, and fades to black. From the first, Rakim was a master of the tactile detail: the lint in his pockets, the sweat in his palm, the fish on his plate. Too righteous to return to a life of crime, but with too much to say to settle on a 9-to-5, he returns to the studio and hungrily lays down "Paid in Full".
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have taken too long to get their album done (funny, since Paid in Full was recorded in a single week), and their girlfriends have started to complain. "Paid in Full" is a song about necessity: about doing what you have to do to get by, and trying to juggle day-to-day responsibilities with trying to make something for-and not just of-yourself. After years where MCs went on and on 'til the break of dawn, "Paid in Full"-succinct, introspective, painstaking-marked the cleanest break yet from the party-starting tracksuits-and-Kangol era. and LL Cool J may have made rap both bigger and deffer, but elsewhere, plenty of MCs were still yes-yalling in three part harmony. & Rakim dropped "Paid in Full" in 1987, rap was still shaking off the last vestiges of the post-disco era: Run-D.M.C. "Thinking of a master plan." If you know that much, you know the rest along with "it was all a dream" or "two years ago, a friend of mine," it's in perpetual contention for rap's greatest opening line, a scheme set in motion one meticulously chosen word at a time. See also: Whitney Houston: " Saving All My Love for You" / Whitney Houston: " So Emotional" On "I Wanna Dance With Somebody", Houston manages to imbue an otherwise simple, frivolous pop song with a hint of sadness. But Houston brought so much more than size to her performances. In the new millennium, big voices have standard issue: from Amy Winehouse, to Adele, Mariah Carey, and Kelly Clarkson, the pop standard is singers with wide ranges, ringing upper registers, and nimble runs. Houston, then on her second studio album, is youthful, light-the voice on the record is impossible to reconcile with the Houston the public came to know in the years surrounding her death. But the years have been kind to "I Wanna Dance With Somebody". This comparison did not go unnoticed when the song was first released, and critics used it as a reason to pan "I Wanna Dance With Somebody" as a lazy imitation of a formula Houston and Lauper had already gotten right. Houston’s signature shout after the unmistakable keyboard intro is pure '80s joy, reminiscent of the similarly jubilant openings of both Cyndi Lauper’s "Girls Just Want to Have Fun" and Houston’s own "How Will I Know". It’s a bright, bubbly pop song, bopping through the standard-issue subject matter that is the single girl’s longing for the lighthearted fun of romantic love. "I Wanna Dance With Somebody (Who Loves Me)", released in 1987, is one of Houston’s most recognizable hits, and one that brings the contrast between the talent and the tabloid story into sharpest relief.