iCrate Diggers
Tuesday, March 9th, 2010
| iCrate Diggers: Week #011
Sample:
Patrice Rushen - Remind Me
Sample: The Honey Drippers - Impeach The President
The late great Notorious BIG is the mark many use when considering someone a “great” MC. Biggie as charismatic as he was, had a lazy eye, nasally voice, and weighed over 300 pounds, but that didn’t stop him from gracing the upper echelon class of MC’s. In the mid-late 80’s, honing his skills, a young kid from Brooklyn, BIG would freestyle on the corner
and battle anyone who would step up. What separates Biggie from the rest of the class is that he not only embodied flow and story telling ability but he was a natural! |
|
“cause the greatest rapper of all-time died on march 9th“
-Canibus
|
|
With the help of DJ 50 Grand, Biggie put together a demo that later got passed onto David Mays, founder of Source Magazine. Reef and Matty C who also worked up at the Source were contacted by Puff at Bad Boy Records who at the time was
looking for new talent. Matty C passed Big’s Demo to Puff and he immediately fell in love. Shortly after, a meeting ensued where Puff offered Biggie a deal right
on the spot. Biggie didn’t take Puff seriously and told him everything he needed he just had to work it out with his DJ, who at the time was Mr Cee. Between the time of signing and recording his debut album, Ready To Die, Biggie was expecting his 1st child. Big not convinced Puff’s deal was genuine, returned to the selling drugs down south where he was once arrested.
Eventually the King Of New York returned and pursed his career at Bad Boy. |
Enlisting Easy Mo Bee and early members of the Hitmen producer crew Chucky Thompson and Nashiem Myrick, by summer of 94, Ready To Die was near completion. DJ Premier on the verge of his break-out career, also resided in Brooklyn at
the time. Premier, originally from Texas, lived down the block from Biggie in Brooklyn. DJ Premier just got done recording 3 tracks off Nas’s illmatic and was producing Jeru The Damaja’s full length LP. By this time Premier was getting upwards of
$25,000 a beat.
Biggie not only a friend of Premiers, but a fan of his music as well, wanted Premier to be on his album. According to Premier, Biggie was already over budget on the album cost.
Premier also revealed that Biggie begged him for a beat, even if he just had to threw down a sample over some Impeach The President drums, he wanted a Premier track. And that’s exactly what he did. Premier grabbed the Impeach The President drum break and the sample Patrice Rushen “Remind Me” and got busy. Although Premier was getting $25k a track did it out of love for Big and was given $5,000 out of pocket to cover costs. Premier also said that the scratches on the track, the popular R. Kelly “Cause Your Body’s Calling” was done at Big’s request.
|
|
The sample Patrice Rushen “Remind Me” was into a bunch of little pieces and re-played into a funky head nodding banger! He flipped it. It sounds nothing like the original. The chorus changes up from the verse which keeps the beat from being monotonous. As for the banging drums, Impeach The President is always a good choice. Premier chopped and replayed them, giving them that “Premier swing” leaving out that reverse hat that you always hear on the loop. Every producer at least once has used “Impeach The President” drum break. Listed below are a few of the more popular uses of it. |
Check back next week when we bring you a sample from the forthcoming album Nas and Damien Marley album “Distant Relatives”.Questions or Comments hit me @KoolPapaiLL
|
Tags: bad boy records, biggie, biggie smalls, biggy, david mays, diddy, dj 50 grand, dj ill skill, dj premier, easy mo bee, impeach the president, istandard, iStandard Blog, istandard producer showcase, istandardproducers, istandardproducers.com, medik, notorious big, patrice rushen, puff daddy, remind me, the honey drippers, track, unbelievable
Posted in Exclusive Blogs, iCrate Diggers | No Comments »
Tuesday, February 16th, 2010
| iCrate Diggers: Week #010
Sample:
Rick James - Mary Jane (1978)
Sampling popular songs in hip hop has become a thing of the past. In an industry where records are downloaded without compensation to the artist (also know as stealing), labels tend to release more sample-free recordings to save a few bucks. Understandable given today’s economic climate. I’ve always thought sacrificing authenticity of art for money was never a faithful practice. Since Obama’s 2009 stimulus package, many of us are still cutting corners to make ends meet. So during the course of 2009 Jake-One and Freeway made ends meet and bring us the 2010
Stimulus Package. One producer, one mc. |
|
“You gotta bond with a good ass producer……..and make that’cha n*&&@ eaarrrrly!“
-Freeway
|
|
“Stimulus Package” from front to back, knocks! Every beat whether I liked the feel of it or not, was dope. It also fits Freeway which is very important. Not only does this album showcases why Jake-One is in such high demand but why he’s a great producer. Jake One isn’t necessarily following the trends on the radio but making good music without sacrificing the raw hip hop sound. I won’t have the album in my hands till Tuesday but I’d like to say every song on this album was created from a sample. Track 4, the hopefully, soon to be a single, “She Makes Me Feel Alright”, samples the ever popular Rick James’s classic “Mary Jane”. |
|
Rick James despite being known for his crazy haircut and drug habit was a great musician. He started out in a band with Neil Young before he ventured solo. In 1970 he was hired by Motown as a song writer. In the 1980’s he formed a band which included the ever talented “Mary Jane Girls” who also put out 2 classic records in the 80’s. (Also see Teena Marie) Rick James’s 1st two albums sold over 8 million copies alone. Every year from 1978 till 1988, he had a song in the R&B top 20. As funky as they come Rick James’s career was started around the same time hip hop was born. Unfortunately he passed away in late 2004 from drug usage.
Rick James is most noted for being sampled on his funky classic, “Super Freak“, which was later used by MC Hammer for “U Can’t Touch This“. The term used best to describe this act is called a “LOOP JACK”. For many of us in the producer community, its songs like that, that give sampling a bad name. Taking an entire section of a popular record and calling it your own isn’t sampling. Unfortunately “U Can’t Touch This” sold an astounding 500k as a single, more than the original “Super Freak”. (Also see Just Blaze’s usage). |
|
|
|
Another one of James’s classics Mary Jane has also been sampled quite a few times. Jake One not only did a terrific job sampling this, but this track has that signature Jake One sound. If I had to pick 5 beats to describe his style, this would be one of them. He layered the chords, the bass line, the vocals, and the noticeable synthesizer riff all together for a classic beat! At the beginning you can also hear a choir with “oww oww”. The drums are modeled after those in the beat and are slamming as well. Jake One is known for making beats the Ensoniq ASR-10. The ASR-10 is also used by the likes of RZA, Alchemist and Kanye West. |
Kanye West has been noted as saying that he has access to the entire Stax Records library of original session files. Meaning he doesn’t have to sample the original, he can go into Stax files and take original bass lines and chords without having those sounds layered on top of other instruments. I’ve also read in an interview that Jake One as access to the Stax library as well. Despite the fact, “Mary Jane” was released on Motown. Some of the elements of “She Makes Me Feel Alright” such as the “ahhh’s” at the beginning of the song are layered at the very end of “Mary Jane” which leads me to believe this beat was created from the session files. Also the words “She Makes Me Feel Alright” are layered by snares in “Mary Jane” and are impossible to chop around. How did he get it so clean? Not to take away anything from Jake One, the way he put the track together is dope regardless.
But why would record labels give artists access to the library sessions? Many older record labels aren’t selling as many records. But by saying Jake One or Kanye West used this record “X” to make this hit song, it adds value to their catalog, which at the end of the day, brings them more money. Is it right only famous producers have access to the vault? I think it is, they don’t want Joe Shmoe messing with classic material for fun. Plus they can keep track on the 1 or 2 people so they can “collect” if and when they sample something from their collection that turns into a hit.
Others who have also sampled Rick James’s “Mary Jane”
Be sure if you like the music you support the artist. For all those who have the extra bucks in your pocket and enjoy Jake One music, be sure to check out pick up “White Van Music” as well.
Last week I forgot to make a mention that Alchemist made use of the sample in 2001 for a song by the Smut Peddlers (Cage, Mr. Eon and DJ Mighty Mi from High & Mighty) calledRed Light.
Lastly, this past week marked the death’s of 3 hip hop icons. The 12 year anniversary of Big L’s death, the 10 year anniversary of Big Pun’s and the 5 year anniversary of J Dilla’s. RIP. Check back for another sample as we return in 2 weeks! Questions or comments get at me @KoolPapaiLL |
Tags: @koolpapaill, cant touch this, dj illskill, freeway, iCrate Diggers, istandard, iStandard Blog, istandard producer showcase, istandardproducers, istandardproducers.com, jake one, jay-z, just blaze, kingdom come, mary jane, mc hammer, medik, rick james, she makes me feel alright, stax records, stimulus packafe, stimulus package, super freak, teena marie, track, U Can't touch this
Posted in iCrate Diggers | No Comments »
Tuesday, February 2nd, 2010
| iCrate Diggers: Week #009
Sample:
The Dells – “Love Is Blue (I Can Sing a Rainbow)” (1969)
In hip hop, new and edgy usually earns you a top spot, provided your music’s dope! With leaps and bounds being made in technology, its more difficult for producers to stand out amongst the crowd of fad followers. Today’s market doesn’t preach innovation and/or individuality, but rather quick singles and easy publishing. 2007 marked the emergence of an unknown west coast rooted MC with little to no buzz. Despite being from California, “Blu” as he’s known, is reminiscent of a Nas in his younger years. Nas’s debut “iLLmatic” is considered one of the greatest hip hop albums of all time. But the formula of grabbing all the hottest producers in the
game, doesn’t always ensure a classic album. |
 |
“but Nas told’em it was mines right before halftime“
-Blu
|
|
“Below the Heavens” is considered a classic by many, but in these days and times of digital music, only 3500 CD’s were actually pressed up. Therefore, I’ve seen a sealed copy go for around $150. Its one of the few albums in the recent years of hip hop that’s true to the roots. By that, I’m referring to a projects body of work thats created by 1 MC and 1 Producer. You can call it the 2007 Guru and Primo, Pete and CL, Show and AG, Common and No ID, etc. Albums with 1 vision usually sound like a cohesive project rather than 8 producers all stepping in their own direction. “Below The Heavens” producer Exile’s most notable “major” placement was on the 2006 Mobb deep album Blood Money, for the track “Pearly Gates“. One half of the group Emanon (the other half being Aloe Blacc) Exile has also produced for Jurassic 5, Snoop, and Kardinal Offishall. I find his style very eclectic at times and is very reminiscent of the late J Dilla. |
The opening track to “Below The Heavens” starts off with a Joni Mitchell sample of the MC’s name “Blu” and drops into a suspenseful soul driven orchestra of fire. What makes this flip a great use of the sample, is that its relevant to the artist whose spitting over the beat. “I Can Sing a Rainbow” has a vocal section of the MC’s name…”Blu”. Exile layered the vocals “Blu, my world is Blu” on top of the beat which is just plain dope!! He also filtered out the bass line and made it sound extremely thick and heavy. For those who aren’t familiar with Exile, he’s nasty when drumming live on the MPC.
 |
The Dells, despite not having been sampled by many hip hop artists have been around for OVER 50 years. The rhythm and blues / soul / jazz group came together in the 1950’s and still record music to this day, which I find that pretty rare given the state of today’s music industry! In the 60’s they toured with Ray Charles and recorded several hits that made the billboard charts. After years of opening for several acts, it wasn’t until the late 60’s till the Dells career took off. They’ve been with over 10 different labels throughout the 50 years. “I Can Sing Over A Rainbow” was released in 1969 and the song made it to #22 on the US pop charts. |
|
2006, 37 years after their hit, Lewis Parker sampled “I Can Sing Over A Rainbow” for Ghostface’s “Shakey Dog”. As both Lewis Parker and Exile used the same section, the horns make for a suspenseful backdrop, as charismatic Ghost describes the scene of a suspenseful tale of a NY robbery gone wrong. Parker, added these tiny little drum rolls throughout the track that add flavor. My favorite part is how Parker controlled the action of Ghost’s story telling by moving from just the strings and horns, into a vocal chop of “ahhhhhhh, NO WHERE TO GO-BABEEEE!!”. It definitely added a lot of momentum, and for me, that really makes the track. “Shakey Dog” isvone of Parker’s biggest productions to date despite his own catalog of underground hits. Lewis is a somewhat of a “underground” veteran of the game, as is Exile. Check out their debut albums, Lewis Parker’s Masquerades & Silhouettes and Exile’s Radio. |
|
Both Exile and Parker use vintage hardware. Exile on his MPC and Parker is known for using the SP 1200, made famous by the 1 and only Pete Rock as well as countless others, Large Professor, etc. Despite the fact that both producers sampled the same piece of music, both tracks have a certain context each their own. Another rendition of this sample be heard in the choosing of a beat in the studio with Joell Ortiz and Corey Gunz.
Lastly RIP to Killa Sha (Prince AD) of the group the Killa Kids from Queens. A QB vet, one of the underrated spitters from Queens, Sha passed away early this morning from his battle with Diabetes. Check out a Sha-Lumi interview over at UnKut. Once again RIP. Check back for another sample as we return in 2 weeks! Questions or comments get at me @KoolPapaiLL |
Tags: @koolpapaill, dj illskill, dj terminally ill, iCrate Diggers, istandard, iStandard Blog, istandard producer showcase, istandardproducers, istandardproducers.com, medik, track
Posted in iCrate Diggers | 1 Comment »
Thursday, January 7th, 2010
| iCrate Diggers: Week #008
Sample: David Potter – “Open Letter” (1971)
10 years and running, hip-hop duo The Clipse, like many other groups has an identifiable sound. Virginia production team, The Neptunes have helped The Clipse carve their nitch. After label troubles in past years, December 8th brought the
release of their 4th full-length studio album “Till The Casket Drops”. Despite picky fans and lack-luster sales, The Clipse have a large cult following. Much like Jay-Z
and Raekwon, The Clipse drop clever word play, coke raps and real life experience in their music. This album follows that blueprint. |
|
|
|
|
The Hitmen |
Keeping their fan base pleased, The Clipse stick
to their formula of production with The Neptunes but also enlist outside their camp. Production includes DJ Khalil and the newest generation of 90’s Bad Boy in house production team, The Hitmen. The Hitmen were a producer collective assembled while legendary producer D-Dot (who mentored Kayne West) was A&Ring for Puff at
Bad Boy. The Hitmen are considered to be one of the most talented producer groups ever assembled in hip hop. (Can’t forget DITC) Members consists of:
Stevie J,
Chucky Thompson, Ron “Amen” Lawrence
(1 half of the group Da Youngstas),
Derick D-Dot Angeletti (The Mad
Rapper),
Yogi,
Young Lord,
Nashiem
Myrick, and
Carols 6th of July Brody.
Together they are responsible for 100’s of classic
records throughout the 90’s and have worked with the likes of Jay-Z, Nas, Biggie, Big Pun, Capone-N-Noreaga, just to name a few. |
Sean C and LV
Grind Music T.V. in Studio from Vimeo.
| In 2001, Sean C and LV (Grind Music LLC) became the newest members of The Hitmen team. Along with Dr. Butcher, Sean C started out as a DJ and is an original member of the world famous X-Ecutioner DJ crew. (RIP DJ Roc Raida) His first production credit came on the classic 1996 album Reasonable Doubt for a little song called “Cant Knock The Hustle”. LV, who grew up with Sean crossed paths again in 1997 while Sean was A&Ring at Loud Records. Through Sean’s A&R position, LV was presented the opportunity to become Big Pun’s tour DJ. After which, they formed a production company under the name “Grind Music LLC”. While producing in 2001, they inked a production deal with Puff to become part of The Hitmen.
“Grind Music LLC” took on the grueling task of the albums intro.
Clipse intro’s are usually one of my personal favorites on the album and from my experience usually set the tone for what’s to come. This track starts off with a psychedelic 60’s guitar riff, it gives you that feel from the Iron Butterfly era. After listening to the original sample, you hear some live guitar was added, giving the extra element that takes the loop to that next level. Sean C and LV also added some dope percussion and the epic drum rolls. Dope drum programming goes a very long way. This track has all the elements for a banger. Dope sample, dope drums, added instruments and of course…dope rhymes! The sample on the other hand was a tough find. I had a hard time even Googling the record to find out more about it. Shout out to my man “Jay” for passing this one along to me. |
|
|
Potter St. Cloud |
The sampled artist, David Potter, was a in group with 2 other musicians back in the 60’s. As a
group, manager robbed them for their publishing and equipment. Forced to return back to Texas, Potter teamed up with a writer by the name of Alan Mellinger also known as Endle. Together they wrote 2 albums. First, Endle St. Cloud, and Potter St. Cloud, which was sampled for “Freedom”. Potter an established musician opened for acts like “Jimi Hendrix”, “The
Doors” and even “Steppenwolf“. From the style of sound on the intro you can tell that those groups definitely brought influence to his music. |
|
Sean C and LV not known by many fans in the hip hop community, are carrying on the Hitmen tradition. They are most noted for producing with Akai MPC 4000. Their latest hit most notably was “Roc Boys” off of Jay-Z’s American Gangster LP, over half of which was produced entirely by “Grind Music LLC”. Rumor has it Sean C and LV are working with Nas in the future. Lastly, we’ve decided to move this column to a bi-weekly schedule. So check back in 2 weeks for the next sample.
Till then, I’m out! @KoolPapaiLL |
|
|
Tags: @koolpapaill, Bad Boy, clipse, D Dot, david potter, diddy, djillskill, freedom, istandard, iStandard Blog, istandard producer showcase, istandardproducers, istandardproducers.com, LV, medik, open letter, sean c, sean c and lv, the hitmen, till the casket drops, track
Posted in iCrate Diggers | 2 Comments »
Tuesday, November 10th, 2009
| iCrate Diggers: Week #007
Sample: Gladys Knight and the Pips – “If I Were Your Woman” (1971)
| In the hip hop world longevity is scarce. One artist who has managed to survive the thick and thin of music industry hardships is Curtis “50 Cent” Jackson. His new album “Before I Self Destruct” was set for a November 23rd release date. Unfortunately this past week the project leaked on the internet, subsequently moving the release date for CD to November 16th and iTunes to November 12th. In similar fashion 50’s 1st album “Power Of The Dollar” which was released on Columbia records, also leaked on the internet. That same year he also made a small cameo in this video. |
|
|
|
|
DJ Clue
“Hev. E Components 4″ |
Shortly after “Power Of The Dollar” was leaked, back when DJ Clue tapes used to run the exclusive circuit, I heard the controversial song “How To Rob“. Despite having featured vocals from Deric “D-Dot” Angelettie of the Hit Men the song was actually produced by the legendary Trackmasters. Later in 1999 50 Cent was shot 9 times and his record deal at Columbia was terminated. From 1999 to 2002 he recorded music independently flooding the streets with product and in true fashion created a huge street buzz. The May 2001 DJ Clue tape “Hev. E Components Pt. 4″ featured the street heavy anthem “U Not Like Me” which later went on to appear as a bonus track on “Get Rich Or Die Trying”. Using his mixtape buzz to an advantage he struck a deal with Eminem and Dr. Dre. Since his success with “In The Club” 50 hasn’t looked back. |
“I got a purple heart for war and I ain’t never left the city“
-50 Cent
| “Before I Self Destruct” parallels “Power of the Dollar” in many ways. Besides both having been leaked on the internet the overall content of the album reflects life on the grim streets of Southside Queens, NY. With this album it seems 50 has mastered his flow even further. He sounds hungry again, except this time there’s no trips to the candy shop, just the appetite for destruction. |
|
Production remains gritty and raw as it did in 1998. “Power of the Dollar” featured heavy hitting tracks from Tone/Poke to DJ Scratch, but 11 years later we have the new generation of producers carrying on tradition. Since 50 Cent’s new found popularity, everyone in the industry has been trying to work with him. He’s assembled a staff at G-Unit to take submissions from anyone with “hot music”. As members of iStandard have seen, the G-Unit office is known for going through countless submissions, looking for beats that they feel will spark 50’s interest. Having walked into G-Unit records in October of 2008, QB and Nascent got their 1st placement on, the soon to be biggest selling album of 2009.
QB and Sha XL Mone |
While attending Sha XL Money/G-Unit’s “One Stop Shop” producer conference I had to pleasure of meeting several “new” producers. As I recall someone at the hotel lobby was yelling my name. It was QB. After being introduced, he mentioned he did a record on 50’s new LP. We continued to chop it for about 40 minutes in regards to sampling and the state of the game. Candidly I asked him without exposing too much, what artist he sampled for his placement. With respect to him as a producer I strictly asked for the artist sampled, not the album title or song title. He replied “Gladys Knight”.
|
|
QB and Nascent specialize in sampling soul records. Their style is arranged of melodic 1 bar chops, variating vocal cuts and punchy drums. The song “Strong Enough” samples many different sections throughout Gladys Knights “If I Were You’re Woman”. Cleverly they added different break downs where the beat changes in mid-verse. The track switches from “grimy” to “attack mode” in mid-stream. Its a bit unorthodox to industry standards but it works nicely. The intro to “Strong Enough” immediately struck my ear. Those same set of chords were used by RZA’s understudy, Mathematics. If you listen closely you can hear the same chords used for the melody of “Respect Mine”. I would consider that “the break”.
|
Nascent and Sha XL Money |
Mathematics chopped the keys, laying them down in a “witty unpredictable” fashion. “Respect Mine” appears on the 100% produced Mathematics compilation “Love Hell Or Right” which features various members of Wu-Tang. In late 2006 Mathematics released a producer documentary DVD called “Beat Kings“. The DVD hosted by Mathematics also features several instrumentals from his “Love Hell Or Right” album, including “Respect Mine”. He is known for producing with the Akai MPC 2000, while Nascent and QB produce with software called Reason. 2 different producers, 1 record, different outcomes. Hey, I started with Fruity Loops. (word to 9th Wonder) No matter what you makes beats with, its what you do with your equipment and how you use it. This is sample is a prime example of that. Questions or comments @KoolPapaiLL Till next time, peace! |
Tags: 50 cent, @koolpapaill, akai mpc 2000, dj illskill, gladys knight and the pips, iCrate Diggers, istandard, iStandard Blog, istandard producer showcase, istandardproducers, istandardproducers.com, mathematics, medik, nascent, One Stop Shop Producer Conference, qb, raekwon, reason, sha money xl, tone/poke, track
Posted in iCrate Diggers | 2 Comments »
