Nothing like an exciting sample find to bring this blogger temporarily out of stasis. I’ve been listening to The Infamous a ludicrous amount of late and enjoying it as much as ever, but it’s the undeniably great ‘Trife Life’ that has seen the most action. It’s always been one of my favourite beats on the album and epitomises the dark, murky aesthetic that Prodigy and Havoc achieved with such aplomb on this legendary LP. But then, you knew that already.
Only one key sample source at play here besides drums and it’s Norman Connor’s ‘You Are My Starship’, a sweet mid-70’s R & B cut featuring vocals by Michael Henderson, a bassist who had played with Miles Davis during the earlier part of the decade. The opening section of the song is immediately recognisable as the introductory section of the Mobb Deep cut, but it’s what happens after this that is perhaps more interesting as it represents some pretty visionary production at the hands of Havoc. Listen closely to the first couple of bars that mark the start of the first verse at 0.44 and you’ll hear that distinctive bassline nestled in amongst all the other elements of the Connor’s groove that ultimately form the backbone of ‘Trife Life’. It’s an extreme use of a low pass filter that to me is only matched by Large Pro’s work on ‘Halftime’ in terms of sheer depth, where all other components of the sample source are pretty much obliterated. Ultimately it’s this truncation that makes the melody here feel like it’s swarming around you: it’s just not possible to get a particularly clean sound when extracting the bass from such a busy source, but of course this would detract from the end result even if it was and be far less effective. ‘Trife Life’ was born to be dirty.
The other flurry that I love is the use of the two bars of sax that drop in at 1.57. A similar aggressive filter must also have been applied to remove this from the original source, so much so in fact that I’ve actually failed to acknowledge it as a saxophone until hearing the sample. The way it balances out the bass-heavy groove throughout the rest of ‘Trife Life’ is devastating, floating loftily during the chorus sections and intermittently breaking out during the verses providing that sense of space that prevents the song from monotony.
And Havoc knows how great this beat is. Just as you think it’s all over the groove comes right back at you, and when the fade out begins that sax drifts into play again. So menacing and yet so beautiful: that’s what The Infamous is all about, right?
Filed under: Producers
Beats From The 90’s Vol. 2 Preview (Ghetto Man Beats, 2009)
Good news for fans of K-Def and indeed that ‘real’ hip hop, as the Jersey legend’s follow-up to his utterly fantastic Beats From The 90’s Vol. 1 is (tentatively) due to drop this July. I loved the first edition of this series and the provided preview confirms that this should be similarly bangin’, so watch this space for more news as it reaches me. Shouts to richdirection once again for the hook-up.
For those of you who have been following my ‘work’ for a while, you may well remember the piece I put together for Oh Word back in February last year on Illmatic where I deconstructed all of the key sample sources that went into the production of the album. The second installment in this series is now beginning over at The Passion of the Weiss, and this time it’s Reasonable Doubt that is receiving the full album deconstruction treatment.
Part 1 is already up over at Jeff’s spot now, with further installments throughout the week. We took the decision to break this bad boy up a little because at over 3000 words in total for the whole album, I doubt your internet dented attention spans would have made it through the whole piece in one go. I know mine probably wouldn’t. Enjoy and make sure you chime in with some comments to make me feel like the labour of love was worth it. Huge props to Jeff for the opportunity to let the piece reach a wider audience than it could ever have hoped to here at FDB.
Although only a handful of cuts ever make it to the fully blown beat deconstruction process, my desire to understand the craftsmanship behind my favourite bangers means that I’m constantly on the digital dig. With such a wealth of information out there on these here internets (shouts to Dallas) it’s not often that such searches end in disappointment, but they do sometimes result in having to scrape my jaw off the floor after marveling at the revealed ingenuity of the producer behind the boards.
Clear leader in the ‘how did they do that?!’ stakes is unsurprisingly the inimitable DJ Premier whose legendary status requires no further exposition from yours truly. Instead, here are a handful of Preem-honed cuts and their sources that failed to qualify for the beat deconstruction process on the grounds that I simply have nothing intelligible to say about them that enlightens the composition process. Commentary will be sparse because – and this goes against all my blogging tendencies – the music speaks for itself. Hats off to Premier: the man’s abeast.
All City – ‘The Actual’
taken from Metropolis Gold (MCA, 1998)
Chi-Lites – ‘We Need Order’
taken from A Letter To Myself (Brunswick, 1973)
Okay, so the stabs are there at the beginning, and that percussive roll kicks in after six seconds… this flip is blinding. On a side note, half of Metropolis Gold is brilliant, half is awful. Weird album.
What?! You can hear the chimes that make up the Gangstarr track in the first few bars, but basically Latimore’s smooth groove is rendered completely unrecognisable at the hands of Premier. You’d have to know: now you do.
Common – ‘The 6th Sense’
taken from Like Water For Chocolate (MCA, 2000)
Intruders – ‘Memories Are Here To Stay’
taken from Save The Children (Philadelphia International, 1973)
Clearly this has been sped up, pitch shifted and chopped all over the place, but you can hear the solitary piano chord at 0.23 that makes it into this fine track from Like Water For Chocolate. That’s about the only sensible thing I can say about this though: ludicrous flip.
Oh, actually this one’s straightforward. Chop that section at 0.02, splice it in with that other bit at 0.05, chuck in that cheeky guitar lick… who am I kidding.
You can actually pick up on the one bar that becomes the main loop with this one (check the 0.40 mark), but those chops at the beginning? Get outta here.
AZ – ‘The Come Up’
taken from A.W.O.L. (Fastlife, 2005)
Lawrence Hilton Jacobs – ‘Holdin’ On’
taken from Lawrence Hilton Jacobs (?, 1978)
I need my mate Geoff to tell me if this is tremolo or vibrato on those strings at the 0.10 mark. Unfortunately, I don’t think he’ll be able to shed much light on the construction of Preem’s loop though. I’d forgotten how good this track off A.W.O.L. was: I bet you had too.
Mr Martin, you blow my mind.
Filed under: Producers
Damu The Fudgemunk – ‘The Bright Side‘ (Unreleased)
I’ve broken the blogging seal and finally made it through my ludicrously jammed Google Reader account, hence more music. FDB favourite Damu never releases anything I don’t enjoy and this latest jawn is no exception. Beat’s an outtake from the Travel At Your Own Pace sequel, rhymes seemingly just ‘happened’:
Easter Sunday may be the Sunday to end all Sundays: heavy chillin’ is mandatory. Don’t mess it up.
Filed under: Producers
Clearly my mind is not blogcentric right now. I won’t bore you with the details of my personal life suffice to say that this is one of the most exciting and nerve-wracking periods I’ve ever been through.
Whilst my palms stay sweating, go and enjoy Redefintion Records’ and Damu’s latest project. Pure, unadulterated dopeness with no personal nonsense in sight. What a relief.
Supreme NTM – ‘Tout N’est Pas Si Facile’
taken from Paris Sous Les Bombes (Epic, 1995)
Ethel Beatty – ‘It’s Your Love’
taken from The Uno Melodic Story (Charly Schallplatten GmbH, 1998)
I’ve been meaning to put something together about this particular song for a long time now, but it’s Sach O who’s acted as catalyst as he has just dropped an excellent overview of Supreme NTM’s third studio album over at The Passion. Paris Sous Les Bombes is in fact an album that I covered during my blogging infancy and it endures as one of my favourite releases from the French hip hop canon. Get familiar if you’re not already: this album bangs.
The reason I’ve held off for such a long time on covering this particular song is due to my relatively fleeting knowledge of the sample sources used here, as the production by DJ Clyde and DJ Max is notably dense and multi-layered on ‘Tout N’est Pas Si Facile’. As such, I’m unable to offer up quite the level of nerdy detail that I tend towards when putting tracks under the proverbial microscope, but the strength of this cut and the beauty of the key sample source are enough for me to temporarily eschew my anal tendencies. So deal with it.
Sample fodder comes in the shape of Ethel Beatty’s ‘It’s Your Love’, a dazzling piece of Roy Ayer’s production work that is now highly sought after by folk who still dig in crates of the non-virtual variety. Released in 1981 on Ayer’s own Uno Melodic imprint, ‘It’s Your Love’ was the flip to the more boogie-oriented ‘I Know You Care’, but the luscious, jazzy groove of ‘It’s Your Love’ is the clear winner on this 12” and an essential piece of early ’80s classic groove. It’s the first couple of bars that are of note in relation to the NTM track, a straight loop jack with some EQing to really bring out the strings and bass and create the fittingly hazy vibe for Kool Shen and Joey Starr to reminisce on days gone past when “le hip hop n’a jamais eu besoin de gun”.
As previously stated there’s actually quite a lot more to ‘Tout N’est Pas Si Facile’ than just the Beatty loop, with irritatingly familiar sax running throughout the song as well as extra percussive flourishes and scratches during the chorus that fill the beat out; sometimes even the most fervent digital digger can come up empty handed. However, regardless of my own shortcomings here, this song – and indeed Paris Sous Les Bombes in more general terms – is a clear indication of the sophistication of French hip hop music from the period and proof positive that the language barrier needn’t be a complete sticking point in appreciating rap from non-English speaking lands. Vous pigez?