(He's "slammed in the studio right now," a publicist told us.) The song's producer, DJ Muggs of Cypress Hill fame, was also unavailable to clarify things. But despite repeated requests, we were unable to get an answer from the rapper. We reached out to a publicist for Everlast, the House of Pain frontman who departed for a solo career in the mid-1990s. So where does "Jump Around" fit into this? The song appeared in 1992-after Prince had embraced hip-hop but before hip-hop had fully embraced Prince. D'Angelo famously played Parade in the studio for inspiration while recording 2000's Voodoo with Questlove the song "Africa" borrows a beat from Prince's "I Wonder U." Common welcomed the star as a guest player on his 2002 LP, Electric Circus. This crew-which included Common, Talib Kweli, Erykah Badu and Questlove-worshipped at the gold-plated altar of Prince's influence. But by the end of the decade, a new generation of hip-hop artists had emerged, including the loosely defined Soulquarians collective. Prince largely left rap behind around the time he changed his name to the unpronounceable symbol in 1993. If the dreadful "Jughead" is any indication, it's a good thing this idea was abandoned.) More successful examples of Prince's hip-hop fixation include 1992's so-called Love Symbol Album ("My Name Is Prince," "Sexy M.F.") and, of course, "Gett Off." (An early cut of Diamonds and Pearls was apparently more than half hip-hop. By the time he released Diamonds and Pearls, his band included Tony M., a rapper whose enthusiasm far outstripped his skill. Prince soon reversed his position, and he spent the early '90s playing catchup. And on "Dead on It"-from The Black Album, which was made in 1987 but shelved until 1994-Prince takes explicit aim at the burgeoning genre: "The rapper's problem usually stems from being tone-deaf/Pack the house then try to sing, there won't be no one left." In his 2004 book about Sign O' the Times, Michaelangelo Matos suggests that the "Shut up, already!" segue in "Housequake" may have been meant as a dig at young hip-hop heads. raps the Edward Lear poem "The Table and the Chair." But as hip-hop began to make a serious dent on the pop charts, Prince evidently wasn't a fan. On 1987's "It's Gonna Be a Beautiful Night," Sheila E. He incorporated rap-like cadences into his songs as early as 1982 ("All the Critics Love U in New York"). (The singer even attempts to spit a rhyme about midway through the song.)īut before "Gett Off," Prince had a strange relationship with hip-hop in its nascent days. And with its deep funk groove and heavy snare sound, "Get Off" reflects the aggressive feel of the era's party rap. It's not unlikely that early-'90s rap acts would have taken notice of "Gett Off." The song was a hit, returning Prince to the charts after the commercial flop of 199's Graffiti Bridge movie. It contains one of the freakiest and most distinctive hip-hop grooves: a carnival-esque melodic loop, a dusty beat and-most relevant-a recurring, high-pitched squeal that hovers on the verge of distortion. If you grew up in the mid-1990s, you will recognize this song as the party song from Mrs. Some fans say it's Rosie Gaines, the keyboardist and backing vocalist for the New Power Generation, Prince's band at the time.īut the most interesting thing about "Gett Off" is that, 25 years after its release and some weeks after Prince's death, fans cannot agree on whether the scream is the same one that forms the basis of House of Pain's 1992 hit "Jump Around." For another, it's not even clear that it's Prince doing the screaming. For one thing, the scream-a curdling wail-arrives at the very start of the song, not at a point of musical climax. "Gett Off" is an anomaly on the list of screams. Shocked didn't know that 15 is #jumparound shrill-& 25 NOT top10? shame #PrinceScreams- Philly’s Own Questo April 26, 2016
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