Back story......Real Nigga Nite Out was Produced By M.D.B. & later became a collaboration with T3. The song was actually a solo recording for M.D.B. Tha Real Nigga ft K-Roc but after K-Roc recorded his verse it was never finished until M.D.B. and Tommy hooked up and added the hook and 2nd verse by M.D.B. Tommy added Lil Chronic afterwards and the rest is history. Oh yeah funny thing about this song is when K-Roc recorded his verse he said Lucky's real phone number so as soon as Tommy's album was released imagine the none stop phone calls lol. I miss those days Rest in peace K-Roc Street Smart Tommy 3 R.N.R. M.D.B. Taking Over The Streets
There's something very moving about this short "piece". Whether it's the voice, what it's saying and how it sounds, or the very static it's talking about, getting louder and louder. It's magical and, as Kevin's other stuff, moves me. A shit ton.
The Lavender Town theme is composed using a modified form of Lydian mode that omits the sixth scale degree entirely and includes tones both a minor second and major second (in the melody and countermelody respectively) above the tonic. The lack of a sixth scale degree results in a large jump from the fifth to the major seventh which gives an “airy” feel in the upper half of the scale, whereas the inclusion of both the major seventh (half step below the tonic) and the minor second (half step above the tonic) makes the melody feel a bit cramped. The major seventh gives a sense of unresolved yearning while the minor second is emphasized in a particularly dissonant way that gives the sense of being out of place despite being so close to home. The four note loop in the uppermost voice repeats 1, 5, 7, #4 over and over again. The root and fifth provide stability and harmonic context, the major seventh gives that sense of reaching and yearning, only to fall back down to the sharp fourth, the infamous tritone interval in relation to the tonic. The first line of the main melody goes 5, 5, 3, 3, 5, #4, 3, 7, b2, b2. Once again, we have that unresolved major seventh leading tone, but this time instead of falling to the sharp fourth, it falls all the way down to the flat second scale degree, a dissonance reinforced by the countermelody which goes 3, 1, 7, 3 against the minor second scale degree, creating that cramped feeling around the tonic. The second line of the main melody goes 5, 5, #4, #4, 7, 5, #4, 7, 1, 1. Finally, the major seventh resolves up to the tonic. It’s clear that the defining qualities of this melody are the use of the major seventh (the leading tone) and the sharp fourth (which serves a role similar to a leading tone with regard to the fifth scale degree) as a way to build tension and a sense of unrest. -copied from Reddit about lavender town Pokémon song, with the same effect
