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Autobot_ATrac t1_j5ppogr wrote

Reply to comment by purrppassion in Daft Punk’s Thomas Bangalter Announces Solo Album — and Reveals His Face for the First Time by robbiet480

Respect your opinion and you’re entitled to it. I actually think it’s my favorite listen of theirs, especially when paired with interstellar 5555.

But… it’s layered with samples that lay the ground work for most of the songs in their foundations. Including one on one more time that they pretty much refuse to claim is a sample. In fact, the artist behind the song that was sampled hasn’t seen a dime in royalties.

While the album is a beautiful, conceptual work of art and has earned its position in music history, they’re kinda assholes about how they made it, and some of the songs are just Melodies built on stacks of old disco samples.

I can’t give an album like that best album of all time. The only exception being Endtroducing by DJ shadow, but even in that case, he handles samples like Mozart.

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Vereddit-quo t1_j5qitd2 wrote

Not totally true... Daft Punk have been paying royalties to the company which owns Eddie Johns' catalogue. What happens after is this company's responsibility, not Daft Punk's.

> despite Daft Punk officially licensing the track and paying royalties since its release in 2000, Johns has seen none of that money. "Daft Life LTD. is paying royalties twice a year to the producer and owner of 'More Spell on You'," a representative for Daft Punk told the Los Angeles Times. "We have not heard from [Johns] since the day we acquired in 1995 a catalog from another label that featured this title," GM Musipro founder George Mary said in an email. "We have tried to do research on him, but without any result. For our part, we are going to study his file and do the accounts to his credit.

Source https://djmag.com/news/artist-behind-daft-punk-one-more-time-lead-sample-has-never-been-paid

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Autobot_ATrac t1_j5ro9e5 wrote

Look at the comment by buckaroobanzai below. Chase those samples down and tell me it doesn’t sour your opinion about Discovery.

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Vereddit-quo t1_j5sv4kh wrote

I've been a fan of Daft Punk since 2001 so I'm used to seeing arbitrary definitions of "good" and "bad" sampling from people... Also you say that hip hop "at least adds some layers", well yeah, exactly like Daft Punk. And be honest, 90% of boombap hip hop is actually "just a loop", very rare to hear more at least until J Dilla, The Neptunes and others who started adding way more layers, live playing etc.

About Discovery, let's see what is so basic...

Harder Better Faster Stronger: there is a sample, however the rhythm changes and the talkbox are great and completely transform the original mood, ending of course with the great talkbox solo at the end, which is among my favorite things they have done.

Digital Love, well you can't ignore the amount of things they add: the beautiful bridge played on a vintage Wurlitzer keyboard, the vocals, the atmospheric synths and a superb synth solo at the end. Again, they take a small loop and create a completely new mood with many layers and parts added.

Crescendolls, more basic but they still add so much intensity with the production, the little pauses etc. Clearly an example of taking a small loop and doing a lot with it.

Face To Face, coproduced by Todd Edwards, who also sings on it, is a great example of using tens of micro samples to create something completely new.

I only agree for Robot Rock, it is the easiest sampling they have done and anyway the main thing is that the loop is not that good to me, I never listen to it except in the context of Alive 2007. I actually think most of the 3rd album was made while thinking about the future live show, and not with the goal of having polished standalone tracks. It's well known that they did it in a few weeks and didn't give any interviews at the time.

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