Posts Tagged ‘track’

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Back Track: French Montana ft. Jadakiss – New York Minute [Produced by Harry Fraud]

Tuesday, August 24th, 2010


Interview by: Frankie P

Tell us about yourself and how you got your start in the game.

My name is Harry Fraud. I’m a producer that works closely with French Montana and Cocaine City Records. I was born and raised in Brooklyn, NY. I got my start producing records locally in New York but things really started to take off when I linked up with my guy French. For the last 2 years or so we’ve been consistently releasing records and building momentum. At this point I’ve had the opportunity to work with a wide range of artists including Nicki Minaj, Three Sixx Mafia, Jadakiss, Sean Price, Fat Joe, Daz Dillinger, Ill Bill etc.

When and where did you make the track and what was your contribution to the record?

I started working on the idea for New York Minute around ‘04-’05 in the basement of my mother’s house in Brooklyn. I found a live recording of the song and chopped it up on the MPC 2000XL. From there I added some drums and 2-tracked what I had into pro-tools. The beat actually floated around my camp for a couple years but nobody could really do it justice and I knew it was meant to be a BIG record.

What did the artist think when they first heard it?

When French first heard the beat in the studio I could tell he saw the vision for it but we both agreed that it needed to be fleshed out cause at the time it was still a skeleton. So we pulled the 2-track right into pro tools and I began to rearrange stuff and add drums right on top of it. Once we had everything mapped out I went back and tracked the parts out off the MPC so I could put it all together.

What was the studio session like?

This song was put together over the course of a few different sessions. After we had the beat completed French layed some rough vocals so we could get the feel of the song. Once we had the basic idea for the vocals down we brought the record to Kiss so he could do his thing. He recorded his vocals at D-Block studios and then brought French in to hear wheat he had done (which was incredible). When we had Kiss’ verse locked in French went back and perfected his vocals. From there I took the record to my guy Fafu and we perfected the mix and master.

First time you heard it on radio or in club what were you thinking?

The first time I heard New York Minute on the radio I was in the studio with my pops and an artist that I was working with at the time. Someone called my phone and said Flex was going in on the song so we all ran downstairs to my pops’ car and actually only caught the second half but it still felt incredible to know that the record had just been heard by so many people.

Anything else you can tell us that revolves around that track (funny story or weird event that happened with the track)?

Well when the NY Jets (who are my favorite football team) came out of the tunnel with ‘New York Minute” blasting through the stadium that was pretty unbelievable. The fact that a record me and French had put so much time and energy into was being played on that scale validated all the work we had done for sure.

Thanks for the love iStandardProducers!!!

Follow Harry Fraud on twitter -  www.twitter.com/HFraud

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iStandard Exclusive iNterview with Lee Major of The Inkredibles

Tuesday, August 24th, 2010

Interview by: Kristen Teesdale & Frankie P

You were first working with another producer; Tell us how does it feel now to be a solo producer now.
It feels somewhat the same, being that I was always the creator and he just pretty much handled the business end of things. The only difference is I’m now involved with more of the business part of production, but for the most part I have good management (DJ Nasty & Dj Khaled) to deal with that, so it feels good.

Talk a little bit about your method of producing.
There is really no method or steps I take each time I create, everything is started from an idea. Sometimes I will start with a melodic idea and work around it , or sometimes i will start with a drum idea and work around that. Which ever works at that moment.

What is your go-to equipment in the studio?
The majority of it is software, so my go- to equipment will be a simple piano vst and also Ez drummer. Shoutout to toontracks!

You first exploded on the scene when you worked with Ace Hood and Trey Songz. Since then, you’ve worked with chart-topping artists like Flo Rida, Young Jeezy and Jay-Z. What is your dream collaboration?
Jay – Z was one of them, i would say now my dream collaboration would lean more to the Pop & Rb side. Beyonce, Alicia keys, katy perry ..etc

Virginia boasts some of music’s most successful names including Timbaland, Missy Elliott, Clipse and The Neptunes. How do your VA roots translate in your production?
One things I like about VA is we have a little of everything out here as far as southern and east cost music. I wouldn’t say Va has a sound but there are sources to get inspired from southern, to gogo, to east coast music, very wide genre of music.

Does that different sound help you stand out in a sea or artists who are living and working in NYC, LA or ATL?
I think at times it does, but being Versatile does help as well.

Talk a bit about the Blueprint 3 placement. Aligning yourself with a veteran in the industry like Jay-Z is a powerful thing.
The blueprint 3 record “Real as it gets” was a blessing from God. It was suppose to be young jeezy’s record which I would have been just as happy to place, but being that it landed on Jay Z’s album was a honor.

How did it feel to get heavy weights such as Rick Ross, Jay Z, and John Legend on the “Free Mason” track? How did the beat come about?

It felt great to have those heavy weights on 1 record, not to mention to have Jay Z on another record of mine. The beat came along pretty simple, I laid a concept idea with a few instruments, got a friend to replay the guitar parts then built around it.


How do you re-invent yourself when you feel like you’re getting stuck?
Usually when I get stuck, I would start from scratch, but if that doesn’t work I have to step away from it for awhile, clear my mind and then I’ll get right back to it.

Networking is certainly a powerful tool in any business. How does a producer community like iStandard Producers help in any phase of a production career?
Istandard is definitely a benefit to anyone whose trying to take on this career. You get the 411 from people whose already in it, you get the opportunity to meet all the right people, its definitely a great tool.

Is it equally useful for both veterans and newbies?
Yes, veterans or newbies.. You can never gain too much knowledge.

You’ve said in interviews that you really focus on doing work for good artists and helping people as you’ve been helped in your careers. So what do you say to producers who are just trying to get their start?
I would say, continue to network, Study this business, and stay creative.

Words of advice?
Stay humble and always continue to work hard, no matter the level of your success.

What can we expect to see from you in the coming months?
A lot of unexpected things! Stay tuned!

Follow Lee Major – www.twitter.com/leemajorkid

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Back Track: Playaz Circle ft. Lil Wayne – “Duffel Bag Boy” / Young Jeezy & Andre 3000 – “I Do” [Produced by M16]

Tuesday, August 24th, 2010

Interview by: Frankie P

Duffel Bag Boy

When and where did you make the track and what was your contribution to the record?

I made that beat like early 07 at my homeboy house in ATL. I was doing beat battles heavy around that time so that’s what mode i was in when i made it.

What did the artist think when they first heard it?

When they heard it they called it the one.

What was the studio session like?

I wasn’t present for the session just the mixing process and that was a cool 1st time experience.

First time you heard it on radio or in club what were you thinking?

When i 1st heard it, it seemed like it wasn’t Evan me who did it then it hit me like 6months later so i was like oh shit this is it lol.

Anything else you can tell us that revolves around that track (funny story or weird event that happened with the track)?

I played the beat at the beat battle and i won like i intended to be.after it blew i was getting crazy calls about other people saying they made that beat or either help me make it.

I DO

Andre 3000 – I Do (No Tags)

Young Jeezy – I Do (Snippet)

When and where did you make the track and what was your contribution to the record?

I made that beat around October of 08 at my town house in ATL but a couple months after that all my equipment got stolen.i remade it in April of 09 and it came out a lot better.

What did the artist think when they first heard it?

I actually left some beats with my big homie DJ Toomp. He hit me with a ichat video call and Toomp and Jezzy was going crazy..after i heard the hook i knew it was a banger.

What was the studio session like?

I wasn’t physically there for the session but i did watch it over ichat and it look like magic to me lol.

First time you heard it on radio or in club what were you thinking?

All i could say was wow

Anything else you can tell us that revolves around that track (funny story or weird event that happened with the track)?

I kinda hate redoing beats but something always was in my head about remaking that sample. I’m glad i did!!

 

Follow M16 on twitter – www.twitter.com/m16beats

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iCrate Diggers: Week #015 by DJ IllSkill

Tuesday, August 24th, 2010
iCrate Diggers: Week #015 Sample: Joann Newsom - The Book of Right On – Released: March 2004

Little is ever said about Philadelphia based, true school “hip hop band”…The Roots Crew. Back when they used to go by the Square Roots (circa 1989), it was just 2 members, Black Thought and Quest Love. The crew is a force to be recon with, having members ranging from beat boxers, to drummers, bass players, keyboardists and MC’s, the Roots definitely rep the live form. After release of their 1st album independently, “Organix”, they got a deal with Geffen records. By that time, notable keyboardist, and now super producer, who initially got his start with the Roots Scott Storch, left the group to pursue a solo career.

On Geffen the grouped dropped 3 back to back to back classics, defying the mainstream and creating their own nitch. Their sound is signature and really what has kept the roots afloat for so many years while others have come and gone. When you buy a Roots album, you buy it because you want to hear that “live” hip hop sound. Their reign didn’t always receive as much exposure and or publicity from mainstream as they do today. Even so, I’ve always felt that they still haven’t gotten the props they deserve and after a successful run throughout the 2000 era, the Roots are still working, and currently are rocking a nightly gig at the Jimmy Fallon show.

 Like most all great Roots albums, live instrumentation takes you through an uncharted tunnel of the hip hop underground. The Roots always find a way to push the limits and explore their sound. Its never the same old same, but yet that dark journey down the poetic ills of the street in a different context. This album is no different than the rest. Trying to push the limit as musicians is one reason I’ve always given the Roots respect. Creatively different, I may not always like their music to the fullest, but I always give it a shot and support.
This song “Right On” is sampled from Indie Folk singer Joann Newsom. The fairly young Newsom, 28, is apparently a well-trained harp player which can be heard throughout the sampled track “The Book Right On”. The Roots really found someone that really matched their “sound” and reached out to Newsom for a collaboration. What I find interesting is how they built the track around her already existing idea rather than just straight up sampling the song. With the broad musical background, if I had to pick a hip-hop group to pull off this great feat, it would be the Roots. Taking the song and converting it into an upbeat hip hop track “Roots” style came out dope. Live drumming from QuestLove of the Roots and little ambiances of vocal scratching sounds from “Scratch” of the Roots, “Right On” is just another example of the Roots trying to take it to the next level.

A cohesive project none the less, definitely check out the full length Roots album “How I Got Over”. So far The Roots have released 2 great videos for their project and hopefully a third for “Right On”. If you haven’t be sure to check out “FIRE” featuring John Legend. Check back in a few weeks when we bring you another sample from an up and coming release. Until then, p-p….peace! Questions or comments @KoolPapaiLL

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Track-By-Track Review Of Fat Joe’s – ‘The DarkSide’

Monday, August 23rd, 2010

fatjoe-darkside

Track-by-Track
Fat Joe – The Darkside
Review by: Blackgyver

If you are reading your first Track by Track, here on iStandardProducers.com, then there are a few things you must know:


#1 The writers here at iStandardProducers.com focus mostly on the beats … obviously – hence the name “PRODUCERS” in iStandardProducers.com… however we are still reviewing the record as a whole.
#2 EVERY track gets equal shine…
#3 You know how we do it…we don’t check the credits until the album is heard in its entirety.

1. Intro (Produced by Scram Jones)

Joe Crack is back and from the jump, he’s showing that he’s not thinking about retiring anytime soon. Scram did his thing on the beat. Classic feel, 2010 appeal. And yes… He’s still throwing heat at 50cent.

2. Valley of Death (Produced by Cool and Dre)

Cool and Dre blessed Joey with a heater. This track is ridiculous. Joe’s flow is consistent. Nothing to run down the street screaming about, but Joe is a vet. He know’s how to ride the beat.

3. I Am Crack (Produced by Just Blaze)

Sounds like a beat that Just Blaze did for Jay-Z’s “Kingdom Come” that didn’t make the cut. The beat is serious. Same drums from “Show Me What You Got.” I can’t front on good production though. Two thumbs up.

4. Kilo feat. Clipse and Cam’ron ( Produced byDJ Infamous,)

We’re talkin’ ‘bout cocaine? Call the Clipse and get Killa on the party line. Ready? Go. I was actually not feeling this one. The Clipse were just “o.k.” and the hook left something to be desired. The beat was nothing special. Typical 2010 gangsta beat but things took a turn for the worse with the old school sample.  Crack and Cam saved this track.

5. Rappers Are In Danger (Produced by DJ Infamous)

Infamous redeems himself with this beat. Yeah, it sounds like “old Toomp”, but it’s still very solid production. Crack goes back and forth between what was and what now is in the rap industry.  Seems like a lot of dead air when the hook comes in. You hear Joey killin’ the verse, then…  You can tell that he told his producers for this project that he was looking for a classic hip-hop feel. Well, he got it – I just don’t think it fits.

6. (Ha Ha) Slow Down feat. Young Jeezy (Produced by Scoop Deville)

Scoop samples SoulIISoul for the track.  This is what we’ve grown accustomed to hearing from “Cooked Coke.”  This has been on the web for months and I think it set the standards higher than this album can reach. Jeezy did what Jeezy does for his contribution, but to me, this track doesn’t really fit the “Darkside” concept.

7. If It Ain’t About Money feat. Trey Songz (Produced by Cool and Dre)

“Joey ‘VanGundy’, watch me work the Magic…” Again, this is what we love about Joey. He makes those bangers for the club and hot radio joints (Miami heat).  “MR.” Trey Songz on the hook. Swagg Up!  Cool and Dre produced this heater – who else?  Best joint on the album.

8. No Problems feat. Rico Love (Produced by Scoop Deville)

Classic Crack, from the beat to the hook. Great metaphors and Rico giving love on the hook. Scoop on the beat.

9. How Did We Get Here feat. R.Kelly (Produced by Raw Uncut)

Tribute song for those we’ve lost from Big and Pac to Easy E. Joe tells the stories of street dreams and chasing paper as Kells adlibs over sped-up samples. Joe channels the spirit of his lost homie Pun as he goes into the 2nd verse, borrowing his signature flow. This was another solid track. Then again, when has R.Kelly been on a hip-hop track and it NOT been hot?

10. Heavenly Father feat. Lil Wayne (Produced by Street Runner)

The only song that appears to fit the concept of the album. Joe goes in on the widow of Big Pun, explaining that he’s gone above and beyond since the passing of his brother. “I  don’t owe nobody nothin’, man I gave that b*tch a mill(ion). I ain’t beating ‘round the bush, I’m just speaking on what’s real…”  Street Runner offers a production canvas perfectly suited for this “real” work of art.  Weezy on the hook.

11. I’m Gone (Produced by DJ Premier)

Perfect classic beat from Premier. The change-up in this beat is ker-ray-zee. Crack rides the beat perectly. One (1), count’em, ONE (1) verse. The last four minutes, Joe just vents about the issues he’s faced over the last few years in the game, while providing a mini discography of his most notable hits. HIStory and advice. This should have been the last song on the album for a couple of reasons. I was disappointed that he didn’t do more with this one.

12. At Last Supremacy feat. Busta Rhymes (Produced by Cool and Dre)

Cool and Dre again with that Miami heat. Busta on the hook. You won’t hear this one on anybody’s radio station, but I’d love to see the video. Solid b-side from the “D-side.”

Overall, this is a very good album. However, I don’t think that the title and concept fit the production. This a tale of two perpectives. I’d be curious as to which came first. I was expecting darker beats – something almost sinister. The first half of the album was a classic hip-hop feel. The second half was more of what we’re accustomed to from the “Don Cartegena.” Lyrically, Joe C is a beast. He turns good beats into party anthems. But from someone who’s in a conversation with “greats”, you just expect more.

3 out of 5

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