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Deeper Than Rap
Rick Ross · 2009
Deeper Than Rap is a 2009 hip-hop album defined by its use of soul and jazz-funk samples, its assertions of status and authority, and its unresolved tension between autobiography and fabrication.
Policing
Who enforces order, on whom, and with what consent.
- 2
- in music
- 12:02
- average
- 24 min
- in total
- 14
- across the network
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Straight Outta Compton
N.W.A · 1988
N.W.A’s Straight Outta Compton (1988) is a low-budget, high-impact declaration of intent — recorded in six weeks at Audio Achievements Studio in Torrance, California, for $12,000, using TR-808 beats, sampled horns and vocals, and razor-sharp writing by Ice Cube, MC Ren, and The D.O.C. Its sound is sparse, confrontational, and unvarnished. Its ideas are local, immediate, and uncompromising. Its legacy begins not with acclaim, but with backlash — and a warning label.
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A Rainbow in Curved Air
Terry Riley · 1969
A Rainbow in Curved Air is a solo studio construction: keyboard and percussion overdubs on the A-side, saxophone drone and tape manipulation on the B-side. Made in 1968 on one of CBS’s first eight-track recorders. It established repetition, delay, and modal layering as core tools for electronic composition — not as texture, but as architecture.
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Aida
Giuseppe Verdi · 1989
A studio recording of Verdi’s Aida, made in 1989. Contains all vocal and orchestral numbers across four acts. Omits Verdi’s rejected overture. No source material describes performers, conductor, recording venue, or engineering choices.
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Akhnaten
Philip Glass · 1987
A low, dark opera built by deleting violins — and a Western fantasy dressed as ancient ritual.
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…And Justice for All
Metallica · 1988
…And Justice for All is Metallica’s 1988 studio album, recorded January–May at One on One Recording Studios in Los Angeles. It is defined by its dry, sterile production, inaudible bass, clicking drums, and thin guitar buzz—results of a methodical, instrument-by-instrument process overseen partly by Flemming Rasmussen (who joined six weeks in) and mixed by Thompson and Barbiero in Rasmussen’s absence. Jason Newsted recorded bass alone. Hetfield prioritised a hard vibe over singing. The album premiered at Brooklyn’s L’Amour in September 1988.