The Supremes – ‘It’s Time To Break Down’
taken from New Ways But Love Stays (Motown, 1970)
If you’d told me a couple of years ago that in 2008 I’d be spending as much time listening to other genres of music as I do hip hop, I would have pointed towards the large piece of swine hovering above your head and told you to get outta here in a rather aggressive manner. However, times change, and with the progression of the blog and a continually growing infatuation with sample sources I’m currently listening to a wider range of music than ever before: it’s great.
Of course, due to its assimilation into the beast that is hip hop, a lot of my listening habits currently revolve around soul, hence a new weekly feature that will put forward a choice cut that has had me reaching for the rewind button on numerous occasions over the course of the previous seven days or so. Although there will be some reference to its use in a hip hop context, the intention here is really just to put forward a track that I’m feelin’ and fill you in on a bit of background that I will almost certainly have just discovered myself: it’s gonna be as simple (and as manageable for me) as that.
First up in this new series we have ‘It’s Time To Break Down’ by The Supremes. Lifted from their 1970 albumNew Ways But Love Stays, the LP was the second outing for the group after the departure of Diana Ross (excluding their album with Four Tops, The Magnificent 7). The album is most notable for housing their smash hit ‘Stoned Love’, but it also clearly marks a shift into the ’70s both in terms of musical aesthetic and the appearance of the group, constrained somewhat by Motown who were concerned that the new black power look deviated too far from their established image, hence the more traditional pictures inset in the circles below the ‘fros and black turtlenecks.
Sampled by Premier on Gangstarr’s ‘JFK 2 LAX’, ‘It’s Time To Break Down’ is a clear standout on the album, a deeply soulful burner that details the difficulties of distancing yourself from a lover who still holds your heart captive. Jean Terrell (sister of Tammi) does a fantastic job on lead vocals, and the production and arrangement by Frank Wilson is nothing short of outstanding, with a particularly well-crafted opening 30 seconds before the drop into the first verse. All in it’s a fine example of dusty groove soul and goes down as an essential addition to your digital archives.
This first edition of ‘Slice Of Soul’ is especially dedicated to my Dad whose love of all things Motown runs deep: thanks for making Marvin, Martha, Diana et al. such a significant part of my adolescence Shaggy. Now it’s your turn to embrace some of that good ol’ New York rap! I’ll keep dreaming…
Q-Tip’s contributions to Mobb Deep’s seminal sophomore LP are without a shadow of a doubt some of the very best examples of his work behind the boards. Nestled in amongst the dark and grimy soundscapes created almost exclusively by Havoc, The Abstract’s three additions to The Infamous are priceless, aptly providing the listener with moments of melodic respite in the midst of a collection of songs that are otherwise deeply shrouded in the shadows of the Queensbridge housing projects. With ‘Give Up The Goods (Just Step)’, ‘Temperature’s Rising’ and ‘Drink Away The Pain (Situations)’, Tip not only provides the LP with a depth that it would otherwise have lacked but also solidifies his status as a producer who was able to effortlessly switch his game up when the opportunity arose during the heady days that were the mid-‘90s.
For this special edition of the Q-Tip Beat Series I present to you all three Abstract-produced cuts from The Infamous with key sample sources and discussion for your listening and reading pleasure. Let the deconstructing begin…
‘Give Up The Goods (Just Step)’
Mobb Deep – ‘Give Up The Goods (Just Step)’ ft. Big Noyd
taken from The Infamous (Loud, 1995)
Esther Phillips – ‘That’s Alright With Me’
taken from From A Whisper To A Scream (Kudu, 1971)
Esther Phillips, born Esther Mae Jones, lived a turbulent life that was ultimately cut short by a long-term heroin dependency and a substantial dose of heavy drinking on the side that caused her liver and kidney to fail in 1984. Having been discovered by legendary musician and bandleader Johnny Otis in the late ‘40s, Phillips progressed through a range of styles that saw her release numerous albums over a career that spanned 30 years. Amongst her most successful was From A Whisper To A Scream, an album that received a Grammy nomination and which acts as home to ‘That’s Alright With Me’, the inspiration for the first of Tip’s Queensbridge flavoured beats, ‘Give Up the Goods (Just Step)’.
As is the case with all three of these selections (and indeed his back catalogue in general), Tip holds back from rearranging the sample too heavily, jacking a couple of bars from the opening section of the Phillips’s original. It’s interesting to note that the bass also makes its way into the Mobb Deep cut, although its depth suggests that there is either some heavy EQ-ing going on or that The Abstract simply followed the pattern with a beefier sound that he sourced elsewhere.
In terms of its context within the album as a whole, ‘Give Up The Goods (Just Step)’ is the song that seems to bridge the gap between Havoc and Tip’s production style most obviously, with both the sample and ridiculously crispy snare hit smoothly fitting into the Queensbridge aesthetic. It’s a clear demonstration of Tip consciously adopting a slightly different approach for the project in which he realises a grittier style with devastating effect.
‘Temperature’s Rising’
Mobb Deep – ‘Temperature’s Rising’
taken from The Infamous (Loud, 1995)
Mobb Deep – ‘Temperature’s Rising’ (Remix)
taken from ‘Temperature’s Rising’/’Give Up The Goods (Just Step)’ 12” (Loud, 1995)
Patrice Rushen – ‘Where There Is Love’
taken from Straight From The Heart (Elektra, 1982)
Quincy Jones – ‘Body Heat’
taken from Body Heat (A&M, 1974)
ESG – UFO (33rpm edit)
taken from A South Bronx Story (Universal Sounds, 2000)
Although the sung chorus hook may have inevitably alienated the more steadfastly hardcore heads, ‘Temperature’s Rising’ endures as my favourite Tip produced cut on the album. The soulful melody of the sample and chorus are underpinned by a neck-snappingly fierce drum track, and the result is a musical backdrop that perfectly suits Havoc and Prodigy’s no frills account of trife life in the city.
The source material comes care of Patrice Rushen, a Grammy award-winning musician who is probably best known for her hit ‘Forget Me Nots’ (as sampled by Poke & Tone for Will Smith on the Men In Black soundtrack). ‘Where There Is Love’ is lifted from the same LP as the aforementioned track, entitled Straight From The Heart, and constitutes an enjoyable slice of ‘80s R & B flavoured pop that holds value beyond just sample-spotting geekery. It’s the first couple of bars after the initial drum fill that are of note, another straight loop that is masterfully dropped into the mix at the 0.39 mark of ‘Temperature’s Rising’ by The Abstract.
Inspiration for the chorus hook comes from Quincy Jones and his song ‘Body Heat’ from the album of the same name released in 1974 on A&M. It always amazes me how prolific and adaptable Jones has been during a lifetime in the music industry: from humble beginnings playing trumpet in Dizzy Gillespie’s band to the release of his own material and onto work with powerhouses of popular music, the man’s status is nothing short of legendary. As with ‘Where There Is Love’ the song is enjoyable in its own right, but pay particular attention at the 0.25 mark to hear the vocal hook in its original incarnation.
The remix of the song uses the same key sample source, and although not drastically different, it’s a pleasing rendition of the track with a more overtly radio friendly twist. With the drums toned down somewhat and lyrics cleaned up and re-recorded it manages to hold its own against the LP version and the incorporation of the ubiquitous ‘UFO’ sample provides it with an added depth. All in it acts as gratefully received supplementary material to what I believe is one of, if not the, greatest Q-Tip produced joints of all time.
‘Drink Away The Pain (Situations)’
Mobb Deep – ‘Drink Away The Pain (Situations)
taken from The Infamous (Loud, 1995)
The Headhunters – ‘I Remember I Made You Cry’
taken from Straight from The Gate (Arista, 1977)
And so we make our way to the final instalment of The Abstract’s Infamous odyssey. ‘Drink Away The Pain (Situations)’ once again falls in line with the Queensbridge formula, although the heavy drum track is backed up by an uncharacteristically funky break that sets it apart from the other songs that can be found on the LP.
The groove is snatched from a song by The Headhunters called ‘I Remember I Made You Cry’ which appeared on the group’s sophomore release Straight From The Gate. Essentially a loose conglomeration of constantly changing musicians who had worked with Herbie Hancock during the early ‘70s, this album saw the band further step out of his shadow and continue their experimentations into jazz-funk fusion, although the group disbanded after this release only to reform in 1998 with the triumphantly titled Return Of The Headhunters!.
The break can be found at the very beginning of the track and is particularly notable as a result of its three bar structure. It’s a technique that I’ve discussed as a feature of Tip’s production work before over at Oh Word, and it works just as well here as it does in the Tribe joints. The effect of it is difficult to define, but it gives the cut a distinctive and captivating vibe that once again demonstrates The Abstract’s ability to create beats with a subtle complexity that is masked by superficial simplicity. Although there are few changes to the groove throughout its five minute duration, the use of filters that originally appear at the 0.30 mark and a dope verse from Tip himself make this one of the standouts from an LP that is almost impossible to falter: ‘classic material’ doesn’t even begin to do it justice.
Pete Rock – ‘Bring Y’all Back’ ft. Little Brother & ‘Comprehend’ ft. Papoose
taken from NY’s Finest (Nature Sounds, 2008)
Although in internet terms I’m kinda late on this one, the bottom line is that this wouldn’t be FDB if I didn’t throw in my two cents concerning the latest Pete Rock full length NY’s Finest. You’re unlikely to find any particularly original thinking here, as a few blogosphere notables have already said their piece (and said it very well), and for the most part you can probably second guess what my reactions to the record are going to be. Still, for what it’s worth, here is how I’m left feeling after a week or so of getting familiar with the Chocolate Boy Wonder’s latest outing, which easily stands as my most eagerly anticipated release of 2008.
Let’s start with the good. Unsurprisingly, the elements to savour in the record are almost exclusively rooted in the album’s production, which on the whole is beautifully executed. The groundwork laid by Soul Survivor II and his numerous credits on major releases over the last four years or so is clearly built upon here, with Rock having gradually fine tuned his cleaner, more overtly modern aesthetic to the point of near perfection. Tracks such as ‘We Roll’, ‘Best Believe’, ‘Bring Ya’ll Back’ and ‘Comprehend’ are unmistakably Soul Brother penned whilst managing to sound current and involving, and that’s no mean feat for an artist who is rapidly approaching his third decade in the game. Studio engineer Young Guru also deserves a mention, aiding the Chocolate Boy Wonder in achieving a level of clarity with the sound that is for the vast majority of the LP masterfully realised. Although fans with their heads still firmly rooted in the sands of the golden era may take issue with these developments, for me there’s no faulting the beats on offer here (for the most part…), and I’m left with a feeling of warm satisfaction that NY’s Finest still ultimately feels like a Pete Rock record.
Unfortunately, things ain’t all rosy, and even my glaringly biased perspective can’t ignore numerous shortcomings that tarnish the release. Already heavily documented, the guest vocal appearances range from the good to the undeniably wack, with only ‘The PJ’s’ featuring verses that actually match the quality of the musical backdrop care of Rae and Masta Killa. In this context, Rock’s unusually high frequency of vocal contributions is actually a blessing, but there’s little doubt that in terms of both delivery and content his style of rhyme isn’t really up to extended periods of such prominence, and his somewhat clumsy flow begins to feel tired relatively quickly when exposed to such substantial opportunities for dissection. Despite this, I’d still rather listen to Pete Rock rhyme than the majority of the other guests on the album, and when it comes down to it, this is a sad indication of the lack of lyrical finesse on offer.
The other key issue with NY’s Finest for me is that it seems to attempt to do too much at the same time, and this results in a lack of overall cohesion. I don’t actually dislike ‘Ready Fe War’ as much as other respected bloggers seem to, but there’s no denying that it is completely out of place and only serves to disrupt the flow of the album when listened to from front to back. Elsewhere, the more heavily R & B tinged numbers ‘That’s What I’m Talking About’ and ‘Made Man’ are surprisingly weak, particularly given that Rock usually has a knack for incorporating these elements into his grittier aesthetic with a sense of enduring quality (see ‘Take Your Time’ from the first installment of the Soul Survivor series). I’m also not completely sold on the radio friendly ”Til I Retire’, which for me deviates too far away from the traditional Pete Rock sound and again feels a little at odds with the content that can be found elsewhere on the LP.
Having thoroughly enjoyed the initial 12” release featuring ‘914′ and ‘The PJ’s’, there’s no getting away from the fact that NY’s Finest ultimately leaves this particular Pete Rock sycophant a little underwhelmed. As much as I want to think that various cuts on offer here will grow on me with time, the combination of essentially dull vocal performances and an uneven level of quality leaves me feeling otherwise. It goes without saying that NY’s Finest still goes down as a must have in my book, but if this is an indication of things to come from Pete Rock, the sad likelihood is that I’ll be relying on his back catalogue with increasing vigour whenever I feel the need for a little Soul Brother fix. The Main Ingredient for lunch tomorrow? Aw, go on then…
Filed under: Miscellaneous
Edreys, born and raised in Buffalo, New York, created quite a buzz with his video on You Tube, with 300,000 views ‘I Like It’ in a month. Apparently he’s caught the attention of some label heads, so the future seems bright for this young MC who’s currently working on an album to be released in 2008. You should look out and buy a copy of his ‘D.U.I.’/’I Like It’ limited 45 now before they’re gone. Edreys will be on tour with Camp Lo and Prince Po in April and May, so if you’re a promoter or if you know someone who’s capable of putting up a show, get in touch and support real music.
The first track featured here is a nice breakbeat driven track with a sample you should be familiar with. The second is a remake of the classic Eric B and Rakim track, with new lyrics that take the track to a new level.
6th Sense – ‘It’s Time’
6th Sense, also from New York, is one of the artists that are part of the Rawkus 50, a project where they signed 50 artists and released digital albums on the label. The result is an album called It’s Coming Soon which was produced by 6th Sense and Frequency. Together they also produced ‘Think About It’ for Snoop Dogg’s The Blue Carpet Treatment album. The MC/Producer from New York also released a mixtape with Mick Boogie, available as a free download, called Go For It. The track featured is taken from the Go For It mixtape and was produced by Frequency.
You know we only feature quality music on this blog, so you really need to check out this pair of talented contemporary MCs.
Al Tariq – ‘Nikki’
taken from God Connections (Correct, 1996)
Otis Redding – ‘Don’t Mess With Cupid’
taken from The Dock Of The Bay (Volt, 1968)
Although I’m not gonna bitch about a free ‘holiday’ in the Alps and the delights of skiing, it’s also fair to say that being an on duty teacher for nine days straight with a troop of 49 students all undertaking a potentially life-threatening activity carries with it a certain amount of stress. As a result, I think I’m more exhausted now than I was at the beginning of the half term break, with a mound of backed-up work that is nothing short of intimidating. Naturally, rather than tackle this immediately I’m shirking responsibility and getting back on the blog tip, a pleasure that I’ve sorely missed over the last fortnight. Gotta give yourself some time off, right?!
I didn’t actually listen to a huge amount of music whilst I was away, but when I did get a minute to shut myself off with a pair of comfy Sennheisers, it was Oh Word’s Valentine Mix that remained in pretty constant rotation bar a few ‘on the road’ personal classics. Amidst a fantastic selection of tracks ‘for sensitive thugs and their shorties’ it was Al Tariq’s ‘Nikki’ that had me bopping my head on innumerable occasions, a song that may have passed CD heads by as it was a bonus cut that only saw a release on the double vinyl LP. With Psycho Les and Juju chipping in a hand on the boards, it’s one of the best tracks to be found on God Connections, an album that easily stands its own against the crew’s formally united output.
I’m always a sucker for a mellow, sun-soaked guitar loop in a hip hop jam, and the sample lifted from Otis Redding’s ‘Don’t Mess With Cupid’ is a certified gem. The song can be found on his posthumously released LPThe Dock Of The Bay, home to the song of the same name that will forever be intertwined with his legacy. The album is in fact a collection of singles and b-sides, with ‘Don’t Mess With Cupid’ actually seeing an original release in 1966 as the flip to ‘My Lover’s Prayer’. It’s a great little number in which Otis expresses his refusal to be trampled on by a member of the fairer sex with the passionate delivery that certified his place in the annals of popular soul, and also a song that seems to have been lost in the numerous greatest hits collections that many people probably assume covers the entirety of his work. Why ‘Don’t Mess With Cupid’ should have escaped the canonization process is somewhat beyond me, as it is as easily as good as his more obvious hits, but then perhaps therein lies some of its appeal. The musical snob in me lives on…
Production-wise there’s not a great deal of sample tomfoolery going on, with the first two bars receiving the loop treatment and some heavy drums, although there is some rearrangement on display during the chorus sections and the removal of the guitar’s upstroke that closes the first bar once the main beat drops is a pleasingly subtle touch. With the mellow vibe provided by the beat, Al Tariq takes the opportunity to wax lyrical about that special honey from the past with a level of sensitivity that is rarely seen amongst The Beatnuts’ camp (although a fair amount of ‘bedroom’ talk endures). The result is a rarity well worth savouring: ‘Nikki’ truly is a great hip hop love song.
Filed under: Miscellaneous
Lords Of The Underground – ‘From Da Bricks’
taken from Here Come The Lords (Pendulum, 1993)
I’m not sure how I managed to miss the exact date of FDB’s inception, but I guess in some ways it’s indicative of the fact that time is a strange beast in internet terms. It seems even stranger to me that just over a year ago I had never committed any of my thoughts on hip hop to paper (you get what I mean), especially given that this little blog is now one of the primary passions in my life. Of course, that’s not to say that I don’t have other things going on, but if you’d asked me last December where I thought this was going, I never would have anticipated that FDB would have brought me so much joy on such a consistent basis.
Looking back, the defining moment for me has to have been the switch away from whole album downloads back in May. The upshot of this decision was that I was forced to expand my scope and look for new things to cover, and the result has been a vastly increased understanding of a genre that has dominated my life for almost as long as I can remember. Since that point I’ve delved into sample sources, interviewed heroes and been privy to exclusive music that I would have never otherwise got my hands on: it’s been fantastic. It’s also made me aware of how much more there is to learn about the culture, and I’m proud to say that although I know more now than ever before I also realise there’s a wealth of knowledge still waiting to be untapped, and that makes me extremely happy. Hip hop is alive and well around these parts people.
There are loads of places that have helped me get my musical fix over the last 12 months, and props go out to everyone in my blogroll for showing such a commitment to sharing music and ideas: it’s always appreciated. However, the following are the people who deserve a special mention as key players in my virtual life, constant sources of inspiration and ultimately, as friends.
Alley Al @ Biff Hop
Biff Hop was one of the first blogs that really grabbed me, and the amount of music that Alley has posted over the last year is unbelievable. What with travel tips for NYC and constant words of encouragement, huge shouts have gotta go out to one of the hardest working men in blogland.
Dart Adams @ Poisonous Paragraphs
Despite only being able to read Dart’s musings through my Google Reader account due to the phenomenal time it takes me to load up his page (get rid of some of those pictures Dart!), his coverage of music, film and whatever else he chooses to write about is always sensational.
Depleted @ Analog 313
Through his various internet phases (BLAR, Carbon III, Funk Theory) Depleted has always been someone who I touch base with around the way. Although his current empire covers Detroit techno, a genre which I know next to nothing about, I’m always sure to check out his work and see what he’s up to. What’s it going to be next D?!
Eric @ When They Reminsice…
When Eric arrived on the scene in March I was convinced that no new blog was ever really going to grab me again, such was the saturation of the scene. I was wrong. WTR rapidly became a member of what I consider to be my immediate blog fam, and a large part of that is because Eric is one of the most genuine, honest and passionate people I have met on the internet.
Floodwatch @ floodwatchmusic.com
Floodwatch is without a shadow of a doubt one of the most knowledgable and entertaining people on the blog scene today. It doesn’t matter if it’s hip hop, death metal or electronica, I never fail to digest every word posted over at his site due to its amazingly consistent quality. Flood – are we ever going to get around to the next PR collaboration?!
Jaz @ Cold Rock Da Spot!
And I thought I knew a lot about hip hop… Jaz has opened my ears to more slept on gems than I care to imagine over the last year: the man never fails to amaze me. New Zealand in the house!
Jeff @ Passion Of The Weiss
Like Flood, Jeff’s knowledge of music from a myriad of different genres is mind-boggling. Funny, insightful and creative, Passion Of The Weiss is categorically one of my favourite places to be on the net. Oh, and Jeff’s pretty cool too.
Rafi @ Oh Word
I feel truly honoured to be a part of the team over at Oh Word, and thanks and respect go out to Rafi and the rest of the crew for holding down one of, if not the, best hip hop blog on the internet. Just wait ’til I get those bowling shoes on Rafi…
Scholar @ Souled On Music
Not only is Souled On a staple of my digital diet, I am also forever indebted to Scholar for initiating my journey into sample sources. If it hadn’t been for his site, FDB would not be what it is today: the word props doesn’t even begin to cover it.
Travis @ WYDU
I’ve mentioned it before, but WYDU was pretty much the catalyst for me starting my own blog. Travis’s honesty and complete lack of bullshit means that his site endures as one of my favourite blogs, and I’m proud to be affiliated with a site that is unquestionably of the highest calibre. You’re the man Trav.
Finally, I want to thank everybody who has visited the site and takes the time out to read my various rants. Without you, FDB would be nothing: here’s to many more years to come!
Filed under: Interviews
Barak Yalad – ‘Bewitch’ & ‘Beautiful’
taken from Loss For Words (Rawkus 50, 2007)
2007 has been good to Rawkus (more of this in the very near future). With a slew of quality releases and a clear focus on the importance of the digital game, there seems to be no stopping the label of late. I recently spoke to Barak Yalad, an MC whose recent affiliation with the Rawkus imprint via the Rawkus 50 should stand him in good stead in a market now heavily saturated with the great, good and downright awful. Although his first albumLoss For Words does feel somewhat inconsistent, there’s more than enough on show here to indicate that Barak could be someone to look out for in the future, and ‘Bewitch’ in particular has received some heavy play from me over the last couple of weeks. Here’s how it went down…
From Da Bricks: Congratulations on making the Rawkus 50. For those not in the know, can you fill people in on what it is exactly?
Barak Yalad: Basically, Rawkus is re-emerging and they are doing something that no other record label has ever done before. They’re pushing out 50 of the hottest MCs, a lot of searching, time and juggling has gone into finding the right artists to be a part of this camp. We got picked out. Rawkus was looking for well developed artists with a fanbase that were already making a lot of noise. That’s how they made the selections, and it’s a good start for a lot of underground hip hop artists and for the label to bring its name back up to what it was. After laying low for a bit it’s their way of coming back up, fresh to the world again.
FDB: It must feel good to be associated with the label after their previous successes.
BY: Man, it’s like a dream come true. For me back in the day I grew up listening to Rawkus: Company Flow, Big L, Mos Def, Kweli… I always dreamed of being a part of that. It was a label suited for artists such as myself and it feels kinda freaky now that dream has come true. I was like ‘wow, I’m hanging out with the president of Rawkus!’ [laughs] It’s pretty cool right now.
FDB: I know they’re linking to the audio on iTunes and Amazon, but do you intend to get a physical product out there as well?
BY: Definitely. Right now a lot of my CDs are in stores and I’m hustling them on the street when I’m doing shows: CDs are there, t-shirts are there, all kinds of merchandise is ready to go. I’m trying to set up some kind of distribution so I can get my music out there and overseas. I’m setting up a network at the moment through PayPal to CD Baby and Amazon so fans can still get the hard copy. That’s the diamond right there! You want that to put in your archive. The digital is one thing, but we’re definitely pushing our own hard copies as well.
FDB: Is there any chance of Rawkus being involved in that or will you have to do it independently?
BY: It’s gonna be an independent job. They’re doing the digital distribution through Iota to 125 digital distributing networks. They’re holding that down. The reason they’re doing that is that people aren’t really buying CDs anymore unless you’re a megastar, you know what I mean? Everyone is getting everything online now, click of a button, put it in the iPod: people just wanna listen to the music. It saves on manufacturing and all those different costs.
FDB: At the beginning of the album you state that you’ve been MCing for 18 years. Can you talk me through your journey up until this point?
BY: I started out at 14 years old. I realised I had a pretty raw talent there, I’d trash talk to my friends and things like that. At first they didn’t believe that I could rap because I was such a schoolboy! [laughs] Eventually, I started coming out with flows from nowhere and I found it easy to do. Most people look at it like it’s really difficult, but to me I just rhymed a couple of words and that’s it!
FDB: You’re lucky! I guess it came naturally.
BY: It started to grow after a time. I was doing a lot of venues at 16/17/18 and was very much involved in the graf and b-boy scene. I was really a dancer. This must have been around ’91 or ’92. As far as hip hop, I was grown into it, because when I was 10 or 11 years old I was already in it. But as far as MCing, that developed when I was 14 when I realised I could actually do it. That’s when I started doing all the shows and putting myself out there.
But this is my first album after 18 years! My thing was that I didn’t want to be one of these local artists who were like ‘yo, I’m on like my 18th album’. I didn’t want to put myself in that circle so I made a promise to myself that I would not drop an album until I got a deal.
FDB: So what’s the story with this album?
BY: Some people have asked me if I’m happy with my first album and I am, but it could have been a lot better. I felt the project was a little rushed, and a lot of the songs were things that I had done in the past and were recycled over new sounds. I’m currently working with the Justus League and in particular Kemistry, a Justus League affiliate, so we just updated some of the older stuff. The album is called Loss For Words because when I finished that’s how I felt, I wasn’t sure how I felt about it! [laughs]
There is a deeper meaning to it though. When you listen to some of the things I’m breaking down, it reminds me of something that my Grandma used to say which was ‘a hard head makes a soft behind’. If you keep trying to teach people about the system or the government and how we should move forward it can be lost: there are a lot of hard-headed people out there. It gets to the point where you have to let a man tend to his own soil, and when they do they might be like ‘wow, this guy was right all along’, but you have to learn the hard way. That’s how it works. So it got to the point where I felt I’d said all I could say with Loss For Words and there wasn’t anything more I could say to you. I said everything I could say. [laughs]
FDB: I did feel that the album had a lot of variety to it and wondered if that was intentional or the result of mixing and matching old with new. Do you think that’s a fair comment?
BY: When the album was being created, my producer Young Cee was throwing beats at me that were just blowing my mind and it was a case of matching stuff together: this’ll go with this, that’ll go with that. That’s pretty much how it worked. There wasn’t any real science behind it, but me and Young Cee rode together perfectly on it.
FDB: How did you hook up with the guys from the Justus League?
BY: That’s pretty interesting. We have a unit in Massachusetts called Ceremonial Masters, and we used to bump into different people when we were doing venues. In the midst of all of that I was meeting a lot of different DJs, and one of them was Wreckineyez from Atlanta. He happened to be connected Little Brother and a lot of different people, and he told me about this group of producers who he thought I should meet. He was DJing one of my shows and he brought along some of their sounds and I was blown away. I invited them to come to one of my showcases and bring their MPC or whatever they were making beats on to do a live beat show. We connected really easily and we just kept up from there.
At the same time, Young Cee hooked up with Slopfunkdust, the A & R for Rawkus. He was the first guy that heard the ‘Bewitch’ song and it was on from there. Young Cee has actually produced for a lot of artists, Little Brother, Skyzoo, Ed O.G…. his list goes on. I just happened to be with a producer that was doing heavy things for other people and pulled some strings to get where I am now.
FDB: Let’s get onto the rhymes. I was personally struck by a likeness in your style to Pharoahe Monch and Mr Complex. Would you say that those people have been influences on you?
BY: A lot of it is just my own vernacular, but at the same time, a lot of these brothers I grew up listening to. When I write, my flows constantly change up and I’m always on something different every time. But having grown up listening to Pharoahe, Mos Def and Kweli and those sort of people who are still around today, a lot of those elements are definitely in my blood. I look at those guys as real hip hop: expression through words. From Rakim to De La to the Fu Schnickens, there are so many artists who I could name that have influenced me over the years.
FDB: You handled some of the production on the album as well didn’t you?
BY: Yea, I am a producer and have been producing for quite some time. I’ve made a lot of beats for a lot of local artists that are still trying to get discovered. Actually a lot of my songs were originally over my beats. The song that got noticed by Rawkus was ‘Bewitch’ and they were blown away by it.
FDB: That’s definitely my favourite on the album.
BY: It really got them. So when they found out I was working with Young Cee from the Justus League the said that I should work with him to do the album. So I left a lot of the production up to him and I wanted to focus on my rhymes, I wanted to really write.
The second album Pressure Point is gonna be next level. I got a lot of treats on it, it’s going to be fully developed with storylines… it’s going to be like watching a movie.
FDB: How far along with it are you?
BY: I’m hoping to drop that by next summer. We don’t know who it’s going to be under so there’s still a lot of time to figure stuff out.
FDB: Is that going to happen with the Justus League connections?
BY: Yea, it’s gonna be with them and a lot more other producers. I’m even dealing with a producer out in Sweden called 12 Bit. I’m really working with producers from overseas as well, there’s so many great producers in Europe.
FDB: Europe does seem to be a market for artists who would consider themselves to be ‘real’ hip hop, having traditionally supported lots of underground American acts. Do you perceive a difference between Europe and the US?
BY: Hip hop in the US is at a standstill. It feels bogus if you ask me. Everybody’s into the jewellery and the chains, violence and guns that is a part of hip hop as it is the word of the streets. Then down south you get the partying and snapping which is again a part of hip hop, but there are a lot more elements in hip hop and right now America isn’t exercising. It’s sad, because the kids out here are being polluted with this madness. Nothing wrong with looking nice, with wearing jewellery… Slick Rick had jewellery! [laughs] the real problem with it is that it’s saturated and there just isn’t room for anything else out there.
The overseas market does seem to be more about music, and although who you are is important, there does seem to e more of an attitude that if you’re hot, you’re hot. All the elements seem to still be going overseas, and that doesn’t seem to exist anymore here in the US. You find certain places, but you got to know where to go. I’m in New York and I don’t even see it!
FDB: Are you from New York originally?
BY: No, I’m actually from Springfield, Massachusets. That’s like my foundation. From Boston, to Springfield and then onto New York. I’ve been here for 6 years now, so I’m still new here, but it’s long enough to say I rep it. [laughs]
FDB: I wish you the best with it all man.
BY: Take care, peace.
Filed under: Miscellaneous
I was going to post up my latest interview over the weekend, but unfortunately I managed to leave the hard drive with the audio on it at work on Friday, so you’ll have to wait until tomorrow. That’s the breaks…
I do however want to extend an invitation out to anyone who might be interested in contributing to FDB, as it’s something I’ve been thinking about for a while now. There’s no doubt that the blogging game can be time consuming, and with the site steadily growing over the last 11 months or so (birthday celebrations this week), I’m interested in offering a wider scope in terms of content and boosting the frequency of posting. Here’s a few guidelines suggesting what I’m after:
1. I’m really not that interested in being at the forefront of the scene in terms of up to date news: there are plenty of places on the net that already handle that side of things very well.
2. I need to feel that we’re going to be on the same page musically, so if I dislike the music that you propose to cover, I’m not going to ask you on board. The content should be roughly in line with what already goes on around these parts, so the latest Lil Wayne mixtape is out I’m afraid. Having said this, I really don’t want to be too restrictive, so if you have ideas that you think could work then I’m all ears.
3. The quality of writing has always been paramount for me here at FDB, so bear in mind that I’m looking for someone who is similarly obsessed with the written word and who actively enjoys the writing process.
Beyond that I want to leave it pretty open. If you’re up for getting involved then hit me up at my e-mail (daniel m love [at] yahoo dot com) telling me a little about yourself and proposing a few ideas for posts. Although you won’t be getting paid, I’d like to think that this humble little corner of the internet has built a decent rep for itself over the last year or so, and you will have the opportunity to converse with labels and artists with the added bonus of occasionally getting your hands on some exclusive music. Oh, and the opportunity to deal with me on a more personal level: if that’s not a great selling point, I don’t know what is. Let’s build people!
Filed under: Uncategorized
Large Pro – ‘We Have A Winner’ & ‘The Highst’
taken from Beatz Vol. 2 (Paul Sea, 2007)
As a certified beat head, a pleasing trend in hip hop over the last few years has been the release of innumerable instrumental releases by some of the finest producers in the game. At their best, these works can be creatively exciting and as engaging as those with rhymes (think Donuts and K-Def’s now shelved Willie Boo Boo The Fool, both of which are prime examples of this formula working exceptionally well) but unfortunately the picture ain’t entirely rosy. For every great instrumental album released there are also a slew of albums that fall victim to a permeating sense of mediocrity and a feeling that somebody simply threw together their off cuts in an attempt to put something out there: quality control doesn’t always seem to be at the top of the agenda. With this in mind, which camp is Large Pro’s recently released Beatz Vol. 2 gonna fall into? Let’s find out…
Let me start by saying that the first installment of the series, the aptly named Beatz Vol. 1, was a disappointment for me. It wasn’t that any of the material was terrible, far from it in fact, but the overall package felt somewhat half-baked. Whereas the aforementioned success stories relied on around 40 beats or so and relatively swift transitions to maintain momentum, Beatz Vol. 1 was sixteen cuts deep, with the majority hovering around the three minute mark. Although every joint on the album had something to say for itself, the release as a whole lacked punch or dynamism and the result was a collection of songs that ultimately left me feeling a little flat. Having said this, a few of the cuts do still manage to drift into my consciousness from time to time, and this has meant that the album has managed to stay in rotation over the past year despite not really delivering the goods: it is Large Pro, after all.
Thankfully, Beatz Vol. 2 is better than its predecessor. For starters, a funkier aesthetic imbues the album as a whole, making this feel a little more like the much loved Extra P of the early ’90s. Tracks such as ‘We Have A Winner’ and ‘The Highst’ reek of hip hop from days gone by, and despite a lack of originality (’The Highst’ even employs the much used Lee Dorsey drum break), they’re more than enough to get you open. The album also feels more consistent than the last, and with very few skippable numbers, it’s certainly entertaining. Nevertheless, despite these pluses, it’s not likely to be a release that you listen to front to back that often.
And why? Put simply, just like Beatz Vol. 1, there just isn’t enough here in terms of quantity and what there is lacks economy. Listening to a whole album of instrumentals is all well and good, but unless it is music of the very highest calibre, your interest is likely to be lost long before the track comes to a close. Unfortunately for Large Pro, this is the case with the latest installment in his instrumental series.
However, this doesn’t totally destroy its appeal. If you’re a dedicated fan like me then you definitely shouldn’t hesitate in copping it, but bear in mind that the album requires that level of passion from its purchasers to really warrant the price of admission. Although I’m gonna enjoy Vol. 2 while it lasts, keep your fingers crossed for Vol. 3: I know I will be.
Black Star – ‘Brown Skin Lady’
taken from Mos Def & Talib Kweli Are Black Star (Rawkus, 1998)
Gil Scott-Heron – ‘We Almost Lost Detroit’
taken from Bridges (Arista, 1977)
When Mos Def and Talib Kweli dropped their Black Star project in ‘98 on Rawkus, the album became one of several that reignited my interest in hip hop and saw me take the first baby steps towards becoming the geeky blogger that I am today. For a lot of people reading this I imagine that this album was celebrated for its return to b boy values and a more socially conscious outlook, but for me at that time it was simply some dope hip hop shit the likes of which I hadn’t heard before. References to BDP and Slick Rick were lost on my sixteen year old ears, but I knew that I had found something that felt creative, honest and musically engaging. As the years have passed by, my passion for the album has actually decreased, but it endures as a work that played a seminal role in my engagement with hip hop culture and as such will always maintain a special place in my heart.
According to the liner notes, ‘Brown Skin Lady’ was in fact the first song that Mos and Kweli recorded as Black Star, a beautiful ode to the ‘kind of girl you meet at a 4th of July backyard cookout and she’s wearing like a real pretty floral dress and she’s just real real nice’. Although this experience unfortunately passed me by as a North London dwelling teenager, it’s a fitting image to accompany the song and it encapsulates the easy, laid back vibe of the track which seems to drip with a sense of warm ghetto nostalgia. One of the two J Rawls’ contributions to the LP, ‘Brown Skin Lady’ remains one of my favourite songs from the album for it embodies the aesthetic that the Brooklyn duo tried to capture on the album: it’s what Mos Def and Talib Kweli aresupposed to sound like.
J Rawls does a fantastic job with the beat, sampling Gil Scott-Heron’s ‘We Almost Lost Detroit’ to devastating effect. The song comes from his album with long time collaborator Brian Jackson entitled Bridges, an infectiously cool track laced with lilting guitar riffs and some subtle electronic twists. As I’ve mentioned before, my knowledge of Scott-Heron’s body of work is relatively limited, but what I do know is that every time I come across a song like this it makes me wonder why the hell I haven’t already submerged myself in his full discography. I gotta get my act together on this one…
Back to the beat. Taking various chops from the opening of the first verse (check for the sample around the half minute mark), J Rawls successfully rearranges the guitar track to create a suitably nostalgic feeling beat that acts as the perfect accompaniment to Mos’ and Kweli’s musings on a particular brand of ghetto hotty. His use of the electronic sounds that open the Gill Scott-Heron original are well placed and add another layer of interest that slips cohesively into the mix, thus demonstrating that this is much more than a simple drums and loop composition. To add to this, the numerous changes in the groove throughout help maintain a steady pace and keep the beat feeling pleasingly organic.
Even in the depths of the British winter, ‘Brown Skin Lady’ makes me feel like the sun is setting on a warm summer’s night as I take a slug from a nice cold beer. With temperatures now hovering around freezing that’s no mean feat, and it’s a testament to the easy mood created by the song. Imagine it’s still August and ignore the winter: ‘Brown Skin Lady’ will help get you there.
FROM DA BRICKS 