Going Bananas

Polynesian rap, scratching, island vibe hip hop, husky female vocal, choir adlib, acoustic guitar finger picking, music box, extended version, party chant

Energetic Blues Rock shuffle, driving rhythm section, boisterous male vocals harmonizing with gritty female vocals, frenetic violin fiddling weaving between the vocal lines, raucous electric piano, danceable groove, foot-stomping beat, improvised violin solo, lively and rowdy barroom atmosphere, jokey

Drop-tuned nu-metal at 96–104 BPM, tight kick/snare with big room crack, bouncy muted riffing with palm-muted chugs and syncopated stops, punchy bass locked to kick with occasional slap pops, record-scratch accents and short DJ cuts, playful “toy” textures layered quietly (toy piano/marimba/kazoo-like synth stabs) without weakening the guitars, aggressive verse delivery (half-spoken rap/shout), huge chanty chorus with call-and-response, quick comedic ad-libs, clean but gritty mix, heavy low-end, hard mutes, breakdown with rhythmic stutter and crowd chant, strong final double-chorus

Instruments: A heavy, distorted Yamaha FM bassline (gritty and metallic) provides the foundation, Layered with dusty, lo-fi boom-bap drums that sound like they were sampled from a worn-out vinyl, High-end elements include "Psych-Fi" space-age synths with heavy LFO modulation and swirling reverse-reverb echoes, • Tempo: 88 BPM, A slow, heavy "head-nod" swing with a dragging snare to emphasize the deep underground feel, • Voice & Sounds: * Vocals: A deep, gravelly male rap delivery with a confident, slightly menacing tone, • Processing: Heavy auto-tune on the chorus washed in hall reverb; dry and "in-your-face" during the verses

Instruments: • Classic 808-style kick drum (deep thump on 1 and 3) and crisp snare/clap on 2 and 4 for that Licensed to Ill backbone • Punchy trumpet stabs and short fanfare bursts synced to the snare hits (sharp, rhythmic accents mirroring the original’s sample chops) • Sliding trombone riffs and growls that fill the gaps between rap lines, adding funk slides on off-beats • Deep tuba/euphonium walking bassline locked to the 808 kick (oom-pah bounce fused with hip-hop sub-bass) • Tight hi-hat patterns (16th-note shuffle with slight swing) and rimshots for marching energy • Subtle funk bass guitar slap-pop under the brass for extra groove • Vinyl scratch samples and light record crackle to nod to the 80s hip-hop roots • Tempo: 116 BPM – exact match to the original “Brass Monkey” for perfect rhythmic alignment; mid-tempo bounce with a subtle swing/shuffle feel to keep it head-nodding and danceable without rushing

k-pop, synthesizers, uplifting, pop

[Tribal chant] [Male Vocal] [Crowd chant] Primitive caveman party song about discovering bananas as “sun you can hold, ” Playful, simple cave-speak lyrics, big group energy, Genre: tribal percussion / drum circle with hand drums, stomps, claps, wooden sticks, deep toms, Mid–fast tempo, driving, repetitive groove, Call-and-response between solo caveman leader and shouting tribe on choruses, lots of unison shouts on “BANANA!”, Raw, natural vocals, a bit rough and loud, [Shouted] hooks, [Group chant] in choruses, Large stone cave ambience, echoing reverb, Melody simple and chant-like, easy to repeat, strong rhythmic emphasis on words “BA-NA-NA, ” Energetic, joyful, slightly silly, ritual-celebration vibe