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The pastor, despite his mind being plagued by the jingle, attempted to recite a eulogy for his fallen friend. However, the jingle managed to weave itself into his words. His speech also took on the rhythm of the jingle to such an extent that everyone listening to the eulogy began bobbing their heads to it’s rhythm, as if the pastor was spitting bars!

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I did not see Mr. ——— for two or three days after that. Then, on Tuesday evening, he staggered into my presence and sank dejectedly into a seat. He was pale, worn; he was a wreck. He lifted his faded eyes to my face and said:

"Ah, Mark, it was a ruinous investment that I made in those heartless rhymes. They have ridden me like a nightmare, day and night, hour after hour, to this very moment. Since I saw you I have suffered the torments of the lost. Saturday evening I had a sudden call, by telegraph, and took the night train for Boston. The occasion was the death of a valued old friend who had requested that I should preach his funeral sermon. I took my seat in the cars and set myself to framing the discourse. But I never got beyond the opening paragraph; for then the train started and the car-wheels began their 'clack, clack-clack-clack-clack! clack-clack! clack-clack-clack!' and right away those odious rhymes fitted themselves to that accompaniment. For an hour I sat there and set a syllable of those rhymes to every separate and distinct clack the car-wheels made. Why, I was as fagged out, then, as if I had been chopping wood all day. My skull was splitting with headache. It seemed to me that I must go mad if I sat there any longer; so I undressed and went to bed. I stretched myself out in my berth, and—well, you know what the result was. The thing went right along, just the same. 'Clack-clack clack, a blue trip slip, clack-clack-clack, for an eight cent fare; clack-clack-clack, a buff trip slip, clack clack-clack, for a six-cent fare, and so on, and so on, and so on punch in the presence of the passenjare!' Sleep? Not a single wink! I was almost a lunatic when I got to Boston.
Mark Twain – A Literary Nightmare
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Twain did not see his pastor friend for several days, but upon meeting him he comes to find out that his friend was put into a similar manic state to Twain from the infectious jingle.

The pastor had to travel to Boston to perform a dear friend’s funeral, on his way there the jingle became stuck in his head to the cadence of the train’s movement. The jingle engrossed the pastor’s mind just as it did to Twain, who like Twain, was also unable to eat, sleep, or even construct a eulogy for his passed friend.

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The entirety of the Madvillainy album was produced by legendary emcee and producer Madlib, and the beat constructed by him for “Meat Grinder” is done in his textbook production style.

The intro to the track is directly sampled from the latter half of the song “Sleeping in a Jar” by Frank Zappa:

After this intro, the beat changes and the new beat is primarily based around the song “Hula Rock” by Lewis Howard.

Madlib sampled and looped the opening progression of bass and guitar of “Hula Rock” and slightly raised the tempo of the music. He also added repeating conga drums over the song’s original maraca lead percussion.

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Today is the shadow of tomorrow
Today is the present future of yesterday

The words stated above by legendary emcee and producer Madlib echo the meaning of this line. Time continually passes and is ceaseless, the moment we’re in is not only the present, but also the future of a moment ago, but also the past of the moment we’re in now. Time is ceaseless, and is the reason why our time alive is so limited.

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The whole song is summed up in these lines, Casey put so much time, effort, and heart into making it as a rapper. Now he’s caught up so much in touring and the other facets of life a rapper must do, that he doesn’t have time for anything else.

Even though Casey is loved by his fans, he is still left alone in the end because of the tolls his life has.

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Tonedeff has put his heart and soul into making his music, it’s his drive and love of life. However, he is met with lackluster responses from his fans and a lack of appreciation from reviewers and critics.

Tonedeff’s music is his life and he has put all he has into making it, but this love is often only met with a pain and doubt that he’s wasting his breath, and that his dream will never pan out.

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A very true statement, when our lives are going well and we’re happy we live carefree, so the time seems to pass a lot faster. But when our lives take a turn for the worse the rapid pace slows to almost a halt, because the carefree life has gone, and we’re left in a situation we have to care about.

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Repeating lines from the chorus, Tonedeff observes the passage of time and our lives, while our lives seem long, they’re often over before we know it.

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An amazing musical moment and a beautiful ending to Archetype, Gathered’s production is nothing short of spectacular. Tonedeff was assisted by the J-Quartet in laying down the string sections heard throughout Gathered. Tonedeff also brought forth moving piano lines and beautiful vocal work, as well as hard hitting drums that come out of nowhere halfway through the song. Tonedeff also adds an amazing, atmospheric outro to the album featuring soaring string sections and vocal harmonies.

Tonedeff’s breakdown of the production, as well as footage of the quartet recording the string sections can be viewed here:

http://www.youtube.com/watch?v=-Lt4krxNq9Y

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Case Closed gives us some breathtaking bars from Tonedeff, as well as a great beat from Domingo. Domingo brought in some great brass samples and a moving saxophone line that acts as the bass line. Domingo added some good drum fills as well to compliment Tonedeff’s bars.

Tonedeff’s breakdown of Case Closed can be viewed here:

http://www.youtube.com/watch?v=zhxdzxevKO4

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