the focus on just one player in the ensemble can make this style of playing difficult to hear without someone else being focused on the track.
this approach to playing records is to create a feel-thru-ness in the album that is often blacks and colours to some, as well as some of the more complex and elaborate records ever made.
#No limit records free#
the idea behind each record is that it feels like the only one on the album, and that one player is free to play with no one else in the set.
they’re also rarer than they used to be, as less players are available for each record. no limit records albums are a unique breed of record that takes advantage of the fact that one player is only working on a fraction of the album at a time. the pair that make up the other side of the album typically play a different set of tracks. the players in the ensemble play together in a way that makes it difficult to hear anything else without getting focused on one track. one player in the set is always working on one side of the album, with the other side being filled with the tracks they’re playing. the records that come out of no limit records are usually the most elaborate and complex ever made, and often take into account how the tracks might be arranged on different platforms or different tempos. the players who create each record are typically themselves, as well as some time spent on setting up and maintaining the set of tracks. the idea behind it is to create a record that feels like it’s the only one on the album, and that feel-thru-ness can be one of the most rewarding aspects of this style of playing.
#No limit records series#
The imprint forecast the growing immediacy of projects in the industry.No limit records albums are a series of recordings by american ensemble players like mike gress and mattighedy that use only one player for the entire set of tracks, without any overdubs or overdubbing.
#No limit records full#
No Limit was also a very prolific record company, signing and releasing albums by artists (many lesser-known acts, including a young Curren$y) in short windows, with full cooperation from distributor, Priority Records. Inside, inserts marketed a plethora of upcoming titles with elaborate, often overblown artwork. The label used a tank and military iconography. P is also remembered for his elaborate marketing. The No Limit business expanded to films, both theatrical and straight-to-video, a sports agency, and a WCW wrestling team. Moreover, the label expanded to include a roster from Baton Rouge, as well as Northern California, where P called home and learned the independent grind during the early ’90s. Like hometown rival Cash Money Records, No Limit was instrumental in showing the mainstream the Bounce music from New Orleans’ underground scene-with songs produced by in-house staff, Beats By The Pound. Serv-On, Fiend, Magic, Sons Of Funk, Young Bleed, Soulja Slim, and others.
In addition to signing the Long Beach, California superstar for three albums between 19 (including chart-topping Da Game Is To Be Sold, Not To Be Told), No Limit would release #1 charting albums from Miller family members Master P and Silkk The Shocker, as well as significant full-lengths from Mystikal, 504 Boyz, Mia X, Mr. Snoop Dogg Discusses How Master P Saved Him From Death Row & Changed His Life The 90-second package includes early black-and-white footage of TRU, the collective that would largely signal the movement, and its ascent to the mainstream by way of its P-led 1995 single “I’m Bout It, Bout It” featuring Mia X. The Real Story, narrated by Master P, boasts never before seen footage of the record company, launched in 1990, that peaked during the second half of the ’90s and early 2000s.
The same week as The Death Row Chronicles trailer releases, P drops his own label documentary sneak peek. Master P’s New Orleans, Louisiana independent label sent a message: it was now at the top. It was a landmark move in a time when veteran Hip-Hop stars like LL Cool J, Run-D.M.C., A Tribe Called Quest, Scarface, and Cypress Hill were franchise artists that stayed attached to the record labels that first signed them. In March of 1998, No Limit Records purchased the contract of Snoop Dogg from Death Row Records.
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