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AcidJazz Evening (cover)   [2002]

AcidJazz Evening (cover) Release Date :
2002

Type :
C64 Music

AKA :
AcidJazz.sid

User rating:awaiting 5 votes (5 left)

Credits :
Music .... 6R6 of Blues Muz', Nostalgia, Onslaught, SHAPE


SIDs used in this release :
Acid Jazz(/MUSICIANS/B/Blues_Muz/Gallefoss_Glenn/Acid_Jazz.sid)

Download :
http://csdb.dk/getinternalfile.php/38722/Acid_Jazz.prg (downloads: 895)

Look for downloads on external sites:
 Pokefinder.org


User Comment
Submitted by stash on 10 February 2007
@tempest: sorry it was during boooze :)
did u get my pm??
User Comment
Submitted by tempest on 10 February 2007
@stash: "i like the timbaland version more :)" =)
User Comment
Submitted by stash on 10 February 2007
@tempest: hahaha what?? :)
User Comment
Submitted by Richard on 9 February 2007
I still prefer GRGs track more than Nelly Furtado's do it :)
User Comment
Submitted by Groepaz on 9 February 2007
pahaha that interview rocks. lmao
User Comment
Submitted by da1ezy on 9 February 2007
User Comment
Submitted by Stainless/F4CG/[P] on 9 February 2007
WTF is that addition to the credits about idea help and concept by timbalandimadumbassbitchwhocantspeakpropperenglish ?
User Comment
Submitted by tempest on 8 February 2007
@stash: you lamer =)
User Comment
Submitted by CreaMD on 8 February 2007
Author of Matthew Westscott is a native English speaker from UK, I'm sure he made the transcription of the interview as accurate as possible.
User Comment
Submitted by Stainless/F4CG/[P] on 8 February 2007
Gosh, does he really talk like a .. uh.. you know .. eh uh um .. like a .. you know .. a _complete idiot_ or was it just poorly transcribed ?
User Comment
Submitted by CreaMD on 8 February 2007
Interview with Mr.Clueless

Presenter: Timbaland is with us this morning - the CD "Shock Value", that's up next for you. Interesting mix of people on it.
Timbaland: Yes. Lot of shocking news.
P: Let me ask you this. How hard is it- well, I mean, it's easy for you to, like you said, create a beat. Is it, um- we were talking about it before you got here. Is- If somebody is close to the same level as you are, is it conceivable that two people could sit down and create something that's pretty similar?
T: [long pause] You could have sampled something to similar, but you can't- In our opin- Music today, you [look at] some old song, and it's like "hey, that's how [it went], this song out today".
P: Right.
T: And what if they got it from that. And somebody says, "I've never heard that song a day in my life." Music isn't nothing but sounds and notes that repeats itself.
P: Do you feel like you get ripped off a lot?
T: Yeah. All the time, but I'm used to it now. But now I'm like "Hey, you love me don't you." That's what I tell people. "You love me, I'm [all your mine]".
P: Have you ever ripped anybody else off?
T: Er - I haven't *ripped* nobody else off. But have I sampled? Hell, yeah.
P: Right.
T: I didn't rip- go say "Hey I'm gonna steal your beat". I don't have to, I'm too good. [laughs]
P: Now what is the- so what's with the- okay, I love it! - What's with the case with these- with the Finnish guys, who say-
T: Finn- er...
P: From Finland, who say you stole their stuff?
T: I put it this way. 'Cause, that mess is so ridiculous, I can't really talk about it because I'm in legal- legal discussions and whatever, but I'm gonna tell you, if people- That's what I don't believe. Look at my face- I don't know who they faces are.
P: Right.
T: The hell wrong with them? [laughs] That's all I can tell you.
P: Right.
T: It's from a video game, idiot! [laughs]
P: [laughs]
T: Freaking jerk.
P: So that's, so that's all in, tied up in court right now?
T: Yeah, 'cause it's like, my whole thing is, yeah, because don't say I stole some- like, you act- like you just say- A sample, and stole, are two different things.
P: Right. Give me the quick definition that splits those.
T: S- Stole is like I walked in your house, watch you make that beat, took your pro tools and went to my place and gave it to Nells and said "Hey, I got this great song."
P: Right.
T: Is he crazy? I live in America. I don't even stay in Finla- I ain't gonna get into it. Then sample is like, you heard it somewhere, and you just sample it.
P: Right.
T: But you didn't know, maybe you didn't know who it was by because it don't have the credits listed.
P: Right.
T: So you just use it. Hey, I don't know, I like it, but I'm gonna use it. Maybe somebody, you know, might well put a sample claim in, or, I don't know. You know what I'm saying, but-
P: Right.
T: I like it, I don't have no researchin'- time is coming up when I got to turn a record in.
P: Right.
T: So, that's what sampling is. That's not stealing, 'cause everybody sample from everybody every day.
P: Right.
T: And that's what a sample is, like, it maybe [even needs a] credit, cause, hey, I sampled it, I got it from a game. I don't know.
P: Right.
T: And you have a listen. And it say, C-64, Commodore 64. I don't know. You know what I'm saying? So, I like it. I found it. I got sounds upon sounds upon sound. I don't know what's public domain and what's not. Some stuff don't say.
P: Right.
T: Some stuff say it, it says it.
P: So the stuff that's public, you just - "F- it, I'm gonna use it"?
T: Yeah, you can use it. It's like, I think [Swissair?] got sued one time for using the Casio thing, in the Casio equipment that you buy. But who- well I think they settled, because it's like "Yo, I brought 'em keyboard. I brought it. They made it for me to use..."
P: Right.
T: "It was a demo in there that I like, and I flip it a certain way - how you gonna sue me? It's a demo. I brought - the demo."
P: Right.
T: "Don't - you can't sue me for buying what I b- I purchased this." You just say "Hey, by the way, don't sample"- it's like, "Well why am I gonna buy the keyboard?" You know?
P: In the world you live in, in terms of being a producer, does that kind of stuff, all the behind-the-scenes legal stuff, does that go on a lot?
T: It go on a lot 'cause everybody want to come out of the woodwork, say like "you done something. You stole this." Or, You- whatever. Whatever. Whatever. Whatever. Come on man, I'm good.
P: [laughs]

Transcript is courtessy of: http://www.zxdemo.org/extra/timbaland_radio_transcript.txt
User Comment
Submitted by stash on 17 January 2007
i like the timbaland version more :)
User Comment
Submitted by Oswald on 17 January 2007
lovely tune :)
User Comment
Submitted by CreaMD on 17 January 2007
Just for completeness a legally worded out info about the affair.

TITLE: Producer Timbaland "samples" music by copying whole song

It has been alleged on a forum site, that a recent track by record producer Timberland, contains remarkable similarities to a SID (C64 Music) conversion of an Amiga module created by ’Tempest’, a Finnish composer.

The song alleged to contain the similarities is the Nelly Furtado song ’Do It’. The song it is alleged to have similarities to is ’Acid Jazzed evening’, a song which won the OldSkool Music Competion at the Assembley Demoparty. It has also been suggested that the copied song was used by Timberland as ringtone called ’Block Party’ in 2005.

The allegation centres around the apparent wholesale use of sampled parts of the Commodore 64 version of this song. Commodore 64 music is notable for its distinctive nature, since all sounds and drivers have to be created from scratch, and the soundchip of the computer having only three voices but a powerful set of facilities means that many composers sound different to others: the availability of this music, appropriately licenced, within the "High Voltage SID Collection": a collection of Commodore 64 music freely available on the Internet and often downloaded by musicians looking for unusual or obscure sounds: previous releases containing material sampled by or inspired by this collection include "Kernkraft 400" (Zombie Nation), "14 Zero Zero" (Console), "RIDE" (Bonnici and Chable), "Burning the House" (Scooter) and many more. As a result of the documented million downloads of Commodore 64 music and original soundtracks within a ten year period, it is likely that self-styled old-skool producers know of the existence of old-skool music such as that. Technically, the original music is playable on a number of players for PC, Mac, Linux, Amiga and other platforms, and such software is freely available. This, coupled with the availability of a professional synthesizer called "The Sidstation" which contains the synth chip of a Commodore 64 within it, means that Commodore 64 music, while obscure to the general public, is a well known library resource to creatives within the industry.

Any claim by "Tempest" would hinge on the claim that a cover of his work formed a vital part of the work of Timberland and co, and any claim by Glenn Rune Gallefoss, author of the C64 conversion, would be a claim of unauthorised sample usage. Additional unauthorised usage is also alleged.

Source: http://en.wikinews.org/wiki/Producer_Timbaland_%22samples%22_mu..
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