YouTube Treats - Peter Rosenberg With Special Guests

I'm back home in London this weekend to catch up with the fam, so no full post unfortunately. However, I did come across this video which sees Premier, Pete Rock and 9th Wonder kickin' it with Hot 97's Peter Rosenberg, who incidentally was mentioned by Gerald Walker in my interview earlier this month. I also noticed that Kev Brown has been throwing up links to Rosenberg's shows over at his blog which I am yet to check out, but they are most certainly on my 'to do' list over the next few days. Check it:



Imminent Pete Rock Banter

I'm not someone who has ever got involved in the world of forums, having found them a little confusing in the past. This one's an exception though as it's Pete Rock themed, so I'm going to get over my reservations and go for it. Thanks to Jaz for pointing me in the right direction, this could be cool if enough people get involved with the promise of some proper treats for those who engage in discussion. Hope to see you there...

http://peterocksp1200.16.forumer.com

Diamond D Still Had It In '99 - Internal Affairs Contributions

Pharoahe Monch - The Light, The Truth feat. Common & Talib Kweli & The Ass feat. Apani B
taken from Internal Affairs (Rawkus, 1999)

George Benson - Summer Wishes, Winter Dreams
taken from Bad Benson (CTI, 1974)

Harvey Mandel - Cristo Redentor
taken from Cristo Redentor Plus Selected Sessions Reissue (Raven, 2003)

If you were to ask me to list in quick succession my top producers of all time, I know that Diamond D is a name that would always spring to the forefront of my mind. However, when I stop and try to qualify this position, I find myself struggling a little bit, because in terms of output and truly consistent quality he does fall short of some of the other most prominent beat-makers in the game (see Pete Rock, Premier etc.). Now don't get me wrong, I've got a lot of love for D Squared, not least in the wake of the recent release of the Ultimate Force LP, but there isn't quite as much fodder to argue his case as perhaps my gut instinct feels that there should be in the 'greatest of all time' stakes. Admittedly, I think my feelings here are tainted by his unfortunate demise towards the end of the '90s, and there is little doubt that he has struggled to stay involved in the game in the same way that other long-term contributors to the genre have done. Perhaps an apt point of comparison would be his DITC companion Buckwild who has maintained a presence in contemporary hip hop in a way that Diamond D has not. It also doesn't help that some of the beats on his MySpace page are questionable to say the least.

Having said this, his production work on Pharoahe's seminal debut solo LP proves that in the 1-9-9-9, he could still pull off a beat with serious style. Now for the sake of this argument, I'm actually going to ignore 'The Ass' because it is way short of the mark in comparison to his other two credits in the shape of 'The Light' and 'The Truth' (him and Pharoahe obviously had a mild obsession with the definite article here). I am fully aware of the possible negation of my argument, but I'm going to be daring and focus on the positives in this instance: deal with it.

'The Light' and 'The Truth' show Diamond's skills in two different and yet equally resounding ways. 'The Truth' is a beautifully soulful beat that feels introspective and relatively sophisticated, but in terms of production techniques it is less complicated a composition than 'The Light'. Although there is a slight manipulation of the sample from Harvey Mandel's 'Cristo Redentor', this really is a case of taking a loop and simply adding drums and bass (check the sequence from 1.18 onwards). Of course, this notion of apparent simplicity could be levelled at many a great hip hop track, and as a certified drums and loops man, I am in no way suggesting that this should be seen as something to quibble about: this is a sensational piece of production work that oozes quality. The combination of vocals, heart-wrenching strings and harp is truly beautiful, and it ranks amongst one of Diamond's best works. Interestingly, he thinks so too, stating that this is his personal favourite within his own catalogue in the documentary film 'Deep Crates'. To say that this beat comes highly recommended would be somewhat of an understatement.

'The Light' is a slightly different kettle of fish, and sees Diamond go to work on chopping up George Benson's 'Summer Wishes, Winter Dreams' and delivering a beat that renders the sample unrecognisable. I assume that Diamond lifted his guitar track from Benson's solo near the beginning of the song (0.28 to 0.53) and modified the pitch to give him a spread of notes to play with, but with my limited understanding of production techniques it is difficult to tell. Of course, it is Diamond's chopped up guitar riff that forms the central focus of the beat, and it does so emphatically, drawing the listener in to one of the best joints on 'Internal Affairs'. The case for this cut is aided by the fact that this was an anthem for myself and friends in the summer of '99, and it takes me back to warm summer days that resonate strongly in my memory. Ah, the nostalgia...

Both of these cuts seemed to put forward a more mature and introspective Diamond D, a man who no longer relied on heavy horns and slammin' drums to make an impression (always welcome, mind) and it's a shame that he wasn't able to manage this shift more effectively going into his own solo releases post-millennium, with both 'The Diamond Mine' and 'Grown Man Sport' making very little impact on the scene. Wherever he may go in the future there remains little doubt for me that even as late as '99, Diamond D was still one of the best producers out there, and both 'The Light' and 'The Truth' are testament to this fact. A fading legend he may be, but I doubt there are very many serious heads out there who will forget his contributions to the culture in a hurry. Although he may no longer be the genre's 'best kept secret', these two joints certainly rank amongst his.

A Trio Of Interpretations - The Danube Incident

Lalo Schifrin - The Danube Incident
taken from Mission: Anthology (One Way Records, 1994)

Portishead - Sour Times
taken from Dummy (Go! Beat, 1994)

Heltah Skeltah - Prowl
taken from Nocturnal (Priority, 1996)

Rawcotiks - Live Your Life
taken from Live Your Life 12'' (First Try, 1997)

As with David Axelrod, Lalo Schifrin was one of the first names I came across when beginning to develop some understanding of sample sources, largely because I read a feature on him in Nottingham's now defunct b-boy magazine 'Big Daddy'. An Argentine pianist, composer and conductor, Schifrin's music has seeped into the popular conscience via the medium of the soundtrack, perhaps most notable for his work in composing the theme tune for the original 'Mission: Impossible' television series and for scoring films such as 'Bullitt' and 'Enter The Dragon'. His work has been sampled by numerous artists within hip hop circles including De La, Heltah Skeltah and Big Pun amongst many others as well as more 'beats' orientated outfits such as Cinematic Orchestra and the Herbaliser. His prolific output and musical originality led to many a Grammy and Oscar nomination and his influence on popular culture has been acknowledged with his own star on Hollywood's 'Walk of Fame'.

'The Danube Incident' is one of his most easily recognisable and often used samples, taken from the television series of the same name. Lightly skipping snare hits form the percussive backbone of the break and are teamed up with a descending bass guitar riff and a cimbalom, a Hungarian instrument that is played by striking two beaters against a set of strings. Both the Rawcotiks and Portishead cuts also incorporate what I think is a french horn section which does not appear until later in the track (the two bars in question start at the 1.33 mark). The end result is a moody and haunting break that feels understandably cinematic, and it is easy to see why it has been incorporated into the brooding soundscapes of the tracks by Portishead, Rawcotiks and Heltah Skeltah.

Of the three, there is little doubt that 'Sour Times' is the most sophisticated musically, using elements from another Schifrin composition in the construction of the beat and featuring the incredible vocal performance of Beth Gibbons whose voice soars with a paradoxical sense of both power and vulnerability. Here it is performed live for Portishead's legendary gig at Roseland, NYC:



Both the Rawcotiks and Heltah Skeltah joints are great, but I would opt for the latter with its slightly meatier drum track and the menacing vocal deliveries of Rock and Ruck. I also feel a little lukewarm about the chorus hook on the Rawcotiks cut that takes Junior's 'Mama Used To Say' as its source of inspiration, but it manages to work in this context (just). What remains constant throughout all three selections is that they are all heavily indebted to the imagination and creativity of Schifrin, and it really is 'The Danube Incident' that gives these tracks their flava and atmospheric quality.

As you will know, one of the things I have particularly enjoyed of late is unearthing whole worlds of music as a result of a bar or two that has been used in hip hop, and Schifrin is a prime example of this, with a prolific career that has spanned close to 60 years. Make sure you check out some of the links below for a more comprehensive overview of his work and pay your respects to a man who has been an inspiration to rap artists as well as making a significant contribution to popular culture as a whole. You gotta give the credit y'all, where it's due...

Links to check out:

Lalo Schifrin official website
Lalo Schifrin @ Wikipedia
Recent interview with Lalo Schifrin
Lalo Schifrin @ The Breaks

The Greatest Crew That Never Was - Rawcotiks

Rawcotiks - Hardcore Hip Hop (Freeze, 1996)
DJ Honda - For Everyday That Goes By feat. Rawcotiks
taken from HII (Epic, 1998)

Hip hop is a culture plagued by the typically brief careers of all too many of its most promising artists. Notions of the 'sophomore slump' are rampant in the genre's golden ages, as are crews who managed one of two popular singles before fading rapidly into obscurity, never to be heard from again. Washington Heights' Rawcotiks crew avoid falling into either of these categories, but they do so somewhat by default. Having never released a full length album means that they dodge the pitfalls of the troublesome follow-up LP, and they have done enough in terms of 12'' releases and guest spots over the years to become a part of the collective hip hop conscience, but for me, they are one of the genre's greatest underachievers. Even with decent mic skills, some heavy hitting affiliations and a classic single all in their favour, they still failed to make a serious impression on the game, and will largely only be remembered by enthusiasts. Bottom line, it's a damn shame.

I first came across the crew around '99, when I copped Kenny Dope's first installment of the 'Hip Hop Forever' series which featured their smash single 'Hardcore Hip Hop'. There is no doubting the quality of this track, and I believe it ranks amongst the best cuts of '96. The sweeping strings, rolling yet subtle drum track and anthemic chorus loop make for an absolute banger, and Buttah Lee and Jeff Valentino come correct with the rhymes as well. They even scored a Primo remix, making this a 12'' of serious stature.

Of course, this wasn't the last of their appearances on wax, albeit in small doses as guest MCs on other artists' releases. Affiliations with the Beatnuts meant that they cropped up on Al Tariq's much slept on 'God Connections' LP as well as a couple of Nuts' remixes that feature on 'The Spot (The Remix EP)' that saw a release in '98. Their reputation even saw them hook up with Japan's DJ Honda who subsequently became one of their most regular and long-standing affiliations for whom they provided verses on several tracks in the run up to the millennium. On the solo tip they put out a few decent 12''s spanning a five year period that took them up to 2001, but these made relatively impact and are the reserve of committed hip hop heads and vinyl addicts. Ultimately, their actual output never seemed to match up to the air of significance that the crew undoubtedly radiated towards the end of the '90s.

So what exactly went wrong? The connections were in place and their profile was large enough to warrant being picked up by a label to record a complete album. You can even picture it: '97/'98, Beatnuts production with a couple of Premier joints thrown in for good measure and Jeff and Buttah kickin' it with some Dominican flava. It could have been a banger, but for whatever reason, it never materialised. Indicative of their 'underachievement' is the fact that their presence on the internet is also incredibly limited. I've spent hours trying to find out a little bit more about these boys, but with little success beyond Discogs and the odd mention of the Premier 'Hardcore Hip Hop' remix here and there. Don't get me wrong, it's not that I don't like the bulk of their material because I really do, but my point here is that there remains a lingering sensation that they could have achieved so much more given their pedigree. There are of course plenty of groups that have followed a similar path, but very few have seemed to promise quite as much. According to their MySpace they 'are ready to go all out in 2007', but I can't help but feel that to some degree, their moment has passed. Maybe they'll prove me wrong, but Rawcotiks go down in my book as a crew that could have been significant players in the rap game, but who ultimately failed to deliver in the manner that I would have anticipated. Just another factor in the trials and tribulations of being a hardcore rap fan... ain't it a bitch?

Straight Outta Dublin - Riverdance Rap

Stumbled upon this randomly today and thought it was worth sharing:



This was taken from a site that specialises in comedic video clips called Super Deluxe which hosts loads of stupid videos to help you in your quest to kill even more time on the internet. This actually reminded me of something that the Oh Word boys could have put together. Not exactly one of the greatest singles of the year, but I'll take this over Lil' Wayne and Jeezy any day. It's true, people really don't know no more...

Y'All Know The Name - Pharoahe Monch Live

Pharoahe Monch - Desire feat. Showtyme & Push feat. Showtyme, Mela Machinko & Tower Of Power
taken from Desire (Street Records, 2007)

Given that my attitude towards hip hop in general has become increasingly cynical over the years, there is no disguising the fact that these forces are most at play when I attend live events. Perhaps it's the immediacy of the occasion that is the root of this issue: if I buy a record and don't like something about it I can push it to one side and pretend it doesn't exist, but if I've splashed out some of my hard earned cash on a concert I am committed to stand there for the duration come what may. Despite only being 25, there is also the creeping and unsettling sensation that I am one of the oldest members of the crowd which manifests itself in two very different ways:

1. Arrogant self-aggrandisation:

'I know a lot more about hip hop than any of you and appreciate what we are currently seeing in more ways than you can possibly comprehend. You may think you understand this music but I would be willing to bet my life on the fact that you don't. This is a phase for you: you're jumping on a bandwagon in an attempt to feel cool and my overwhelming feeling towards you is one of hatred. You're pathetic.'

2. The truth:

'Everybody here looks younger and better than me. They also look like they are genuinely enjoying themselves which is more than can be said for my grumpy arse. I remember when I was like them, fresh with a love for hip hop, and there is no doubting that it was a great time in my life which I would happily revisit if given the chance. I am rapidly becoming a sad, pompous, self-inflated and twisted individual who believes only his opinions on this music matter and who is simultaneously losing the ability to have fun in a spontaneous, carefree and upbeat way. I'm pathetic.'

Needless to say, the complexity of these two opposing viewpoints often keeps me away from live events nowadays. However, every now and again something pops up that I know I'll kick myself if I don't see, and last week, Pharoahe Monch came to town. With a couple of beers in my belly and an internal mantra set on repeat ('you are not sad and old, everybody there has just as much right to be there as you do') I was ready for one of the first gigs in a while where I felt genuinely excited and up for a good time. Bring it on...

The evening started off well with the DJ spinning some decent beats and allowing me to get my geek on with my mates who had joined me (this is the drum loop off Lee Dorsey's 'Get Out My Life Now Woman', blah, blah, blah...), but proceedings were brought to a grinding halt by one of the most uninspiring warm up performances I have ever seen. In their one hour set, British Intelligence came to represent everything that I hate about the UK scene, with pedestrian flows and the constant need to try and get the crowd hyped with little to no success. Whereas the boys from B.I. clearly interpreted our lacklustre response to shouts of 'are you ready for Pharoahe?!' as a lack of excitement for the mic legend whom we had paid to see, what they failed to realise was that the majority of the crowd had drifted into a state of near comatose as a result of their performance which prevented us from responding with anything beyond a dull groan, stunned into near silence. Honestly, this was some of the most yawn-inducing music that I had seen in a while and only confirmed some of my fears about venturing out of the house on a weeknight to see live hip hop. Still, the main event was yet to come.

And it didn't disappoint. With a full live band in tow (drums, bass, DJ, two backing singers and guitar), the show that ensued was full of energy and genuinely exceptional. Pharoahe catered to fans both new and old, with a slew of bangers from 'Internal Affairs' and 'Desire' as well as the odd Organized verse dropped in for good measure. I have been feeling a little lukewarm about his latest material up until this point, but tracks such as 'Desire' and 'Push' worked particularly well in this context, boosted by the in your face edge of a live performance, and the balance between these songs and older cuts was extremely well judged. As I expected, Pharoahe had a presence which was captivating, his delivery was sensational and the raw energy behind his performance was matched only by the enthusiasm and musical dexterity of his bandmates. All in, it was one of the best gigs that I have been to in a long time, and I left feeling energised rather than with the usual sinking sensation brought on by my frequently disappointing trips to live hip hop in recent times.

It's a shame that a culture built on live performance now seems to so rarely meet expectation on this front. Certainly for American artists visiting the UK, it seems all too easy to have a DJ spinning instrumentals whilst MCs recite the lyrics over the top for an hour and call it a gig. Pharoahe proved to me last Thursday night that hip hop can still be a vibrant and exciting form of musical expression in a live context, and I would strongly recommend that you see him if you get the chance over the coming months whilst he promotes the new album. 2007 is shaping up to be a pretty decent year for hip hop so far, and performances such as this only serve to make it better and dispel the myth that hip hop is dead. The true success of this gig can be measured by the fact that the two prevailing attitudes detailed at the beginning of this post were made redundant: I simply had a really good time. Pharoahe, I salute you!

World Renown LP released:

I noticed the other day that World Renown have now made the tracks from their long lost LP available for download on their MySpace. From the audio clips it sounds great (I mean it's K-Def for gawd's sake) although nothing is going to touch 'How Nice I Am' in my opinion. I feel a little peeved at the $1.50 price tag for each individual tune though, as with eleven tracks available that means you're spending over fifteen dollars with no physical product in sight, and it feels deliberately exploitative of hip hop nerds such as myself. I'd probably be willing to pay this if they actually released the CD, but as it stands I'll only be selecting the best few cuts and making do with that. Head over there and peep it.

FDB Interview Spot - Gerald Walker

Gerald Walker - Makin' My Way & Shout It Out feat. Strange Fruit Project (OSAT, 2007)

Now that I have been in the blog game for just over half a year I am in the enviable position of occasionally receiving music from artists who, for the most part, want their record publicised on the ever growing blog scene. There's no doubt that there is a substantial amount of filler that gets distributed in this way, but when a guy from OSAT Music got in contact about a new artist from Chicago called Gerald Walker and sent me his press release I was impressed enough to want to take it further and sorted out an interview.

Walker has affiliations with Kev Brown and the Strange Fruit Project and these connections are clear to hear in his music which is characterised by a soulful and laid back vibe. 'Makin' My Way' has been in rotation for about a week now and I'm still enjoying its warmth and positivity, and although I am not as taken with the track 'Shout It Out' it is still part of a catalogue from an aspiring MC who shows signs of making some moves in the game. Here's what he had to say on his own work, key influences and the state of hip hop in '07.

FDB: I know you’ve been featured on a few internet spots, but for those who haven’t caught wind of you yet, can you give a brief overview of who you are?

GW: I’m just a regular guy man! Trying to find direction in life and do music at the same time.

FDB: What are your earliest memories of music?

GW: My earliest memory of music was when I was like 6/7 I took my allowance money went to a laundry mat and purchased Bone Thugs' ‘The Crossroads’ single. It had like 4 tracks on it! My mom didn’t like me doing hip hop but when she heard it herself she was feelin’ it also.

FDB: Who would you state are your key musical influences, hip hop or otherwise?

GW: Key influences in my music are Phonte Coleman of Little Brother, the Strange Fruit Project, Jay-Z, Common, Mos Def. Other influences in my life are my cousin Tracey, Patricia LuMumba, my Uncle Reg... that’s basically it. I’m a huge Yanni fan also. I know that’s pretty random but hey!

FDB: Chicago obviously has a prominent history in hip hop. Who are the artists you see as important from your area of the U.S.?

GW: I have deep respect for Chicago MCs man! First off Twista. A lot of aspiring Chicagoan artists hate/despise him but honestly, he was the first hip hop artist who signed with a major. Other than that I like cats like Capital D of All Natural – he’s very influential – Iomos Morod, Pugslee Atomz, a cat by the name of Akbar. Then you have cats like Nadledge who are dope. A Chicago cat I’m really feeling is a dude named Rashid Hadee of Chapter 13 and also Ang 13 of the Wonder Woman Project. There are so many Chicago artists its impossible to name them all.

FDB: What about on a wider basis? Of those outside of the Chicago area, who are the artists you rate in the contemporary scene?

GW: My homie Oddisee & Kenn Starr of Low Budget/Halftooth Records. Those dudes give me a lot of insight on the game. S1 of the SFP is like a bigger brother to me. I like Kev Brown, Elzhi of Slum Village, Hezekiah with Rawkus/Soulspazm – that’s my dude! I’m currently trying to get him out to Chicago to do some shows. I hold a high respect for Supastition. Plus he did the intro for the sampler disc. Oh yeah, cat name Blu from Sound In Color in Cali. That guy is bananas. Jean Grae is a huge influence on me. Median of the Justus League. There are a million cats who I love man, seriously.

FDB: Without wanting to pigeonhole you, how would you describe your sound?

GW: I try to have a soul-full sound. Full of soul man! In addition, combine it with sultry tunes and heartfelt lyrics.

FDB: What are your methods of writing? What are your key sources of inspiration?

GW: Life is one of my biggest inspirations. I usually find a beat, then devise a topic and take my time man! It may take me anywhere from an hour or two to write one song. That’s the process for the most part.

FDB: How do you go about picking your beats? Do you have any input production-wise?

GW: Ask my manager Stef bra! I’m extremely beat-biased. I get so many beat submissions from cats and they usually don’t have that ‘sound’. I love crisp drums, keys (producers gotta play the keys) and actually just have to have the talent. I don’t care for sampler crazy cats who just loop their shit. At least switch the sample up or play an instrument. Make music, not just a loop, sample and drums… but that’s me Dan!

FDB: I know you have the ‘Seasons EP’ about to drop. Can you talk me through this release and any others that you have planned?

GW: Actually I just signed with an indie name OSAT Music (One Step At A Time Music Recordings) based out of Santa Clarits California. I’m dropping a mix album entitled ‘What Is A Gerald Walker??’. That’s a prelude to the 'Seasons EP' which is basically a 4 disc series dedicated to each season. I like it over at OSAT since I’m the only hip hop artist on the roster.

FDB: I know you have affiliations with Kev Brown and the Strange Fruit Project. Can you explain how you linked up with those artists?

GW: Just being a fan! I’m a fan first and foremost so that’s how I approached those cats. From there I just asked them ‘what can I work on as a young guy to better myself?’ or just do simple things like ask for promo drops. That leads to relationships/network. Not to mention all those guys are mad humble.

FDB: At the risk of sounding played out given the amount of 'is hip hop dead' talk, how do you view it at the moment and where do you see the culture going from here?

GW: Hip hop is cool! It’s in the ‘teenage’ years I feel. There are a lot of cats out here with egos man (especially Chicago). The only thing wrong with hip hop I find is that there’s no balance. People hate ‘crunk’ commercial music but I have no problem with it. I find it quite entertaining at times. But there definitely isn’t a balance on the radio. There’s a guy/radio personality who hosted my homie Kenn Starr’s mixtape named Peter Rosenberg who just got a gig at Hot 97 in New York. That’s huge for an artist such as myself. Hopefully this foot in the door can lead to bigger and better things man. In addition, I feel there are too many hustlers in the game, just doing it for the money/fame instead of the love.

I got to admit it felt a little weird interviewing somebody for the first time, but Gerald seems like a level headed guy who wasn't down with any frontin' so it made the job a whole lot easier. With some nice tracks and a positive attitude to the industry he may go far: you heard it hear first at FDB (well, not quite). If you're feelin' the selections then make sure you check out Walker's website and MySpace for more information about upcoming releases and touring schedule. Good luck with it mate!

YouTube Treats - Diggin' In The Bay

Just a couple of videos for you to check out today from the Bay area diggin' camp. The first is actually taken from the 'Stones Throw 101' ten year anniversary DVD release and follows Egon on his quest to talk to Lester Abrams from the funk band L.A. Carnival whose one and only record is perhaps one of the most limited pressings of all time (even these expert beat-diggers only know of two copies in existence). I love this interview for both the music and Egon's pure enthusiasm: he seems genuinely bugged out by the experience.



The next video comes from Brian Cross a.k.a. B+ who is a well known hip hop historian and photographer who is associated with those crazy Bay Area boys. This short film was actually first aired on Shadow's 'Private Press' tour and brings together turntable legends of today with some of the greatest session drummers of the 20th Century and allows them to jam together: undeniably dope.



Man, how great is YouTube? Back on the regular hip hop tip later in the week...

Soul Brother Genius? Jazzy Jeff & The Fresh Prince

DJ Jazzy Jeff & The Fresh Prince - Somethin' Like Dis & Code Red
taken from Code Red (Jive, 1993)

With summer now firmly in the air it's no surprise that Jazzy Jeff & The Fresh Prince's classic jam 'Summertime' is back in rotation. I don't think it matters how hardcore you think you are and how much you may want to distance yourself from some of the fluffiest rap music ever made, 'Summertime' never fails to put a smile on your face and a bop in your head. Although Will Smith's mic abilities are undoubtedly limited, the bottom line is that I know every word to this song (I know you do too) and like it or not, that means something. Anyway, as a result of me getting back into this track and my continuing quest for everything Pete Rock related I found myself listening to the Philadelphia duo's fifth and final release 'Code Red' this week with the specific goal of seeing whether 'Somethin' Like Dis' and 'Code Red' would offer an always welcome dose of Chocolate Boy Wonder genius. Begrudgingly, I'm not sure if this is exactly what I found.

It's clear that with this release Jazzy Jeff & The Fresh Prince were hoping to access a slightly more street level audience, hence the inclusion of some Pete Rock production and a harder look to the pair on the album artwork (looks like Will's already imagining himself in Hollywood here). This is also reflected in Smith's vocal delivery which attempts to sound a little gruffer than in previous works, but his success is limited despite the odd moments where he displays some slightly more advanced, albeit entirely derivative, technical ability. The upshot of this is that however good the Pete Rock production may be, these two tracks were always going to suffer from a below par vocal performance.

So what about the beats? Well, 'Somethin' Like Dis' is by no means diabolical, but it is probably one of the most lackluster Pete Rock compositions that I have heard. Of course, it is important to remember that this was an album aimed at a commercial market and so there would have been an expectation for work that would be accessible for a mainstream audience, but this track has little bite despite some trademark touches. The guitar loop that runs throughout the track is pleasant enough and you still get some horns but this beat lacks immediacy and is probably something that the Soul Brother rolled out in an evening. It's not terrible, but it's far from Rock's best work. Really far.

'Code Red' is better and is somewhat reminiscent of the certified classic 'The Creator' in terms of tempo and the pattern of the drums. Of course, it's nowhere near as good, but it does have a gratifying uptempo vibe and the bass rumbles just enough to keep you engaged. A testament to the strength of the beat is that Will almost manages to sound alright here, and he does his best to appeal to a hip hop audience by referencing Main Source's 'Looking At The Front Door' and Snoop's famous 'bow wow wow...' refrain. This is definitely the better of the two Pete Rock contributions to this album and although it also suffers from a lack of punch it is an enjoyable, if somewhat uninspiring, addition to his extensive catalogue.

Basically my analysis of these tracks comes down to one simple fact: I want to love everything that Pete Rock has produced. I feel like I've mentioned him loads recently here at FDB, and I am conscious of the risk of this here blog turning into a Pete Rock appreciation society if I'm not careful, but such is my love for all things Soul Brother. If these tracks weren't produced by the man in question then they would probably have passed me by without a bat of an eye, but since they are, they'll receive some rotation from me. If our approach to music was entirely objective then the world would be a pretty dull place, and with 'Code Red' and 'Somethin' Like Dis' my subjectivity steps up and lands a sucker punch square in the face of objectivity, only to then spit on its trembling and pathetic form once it hits the deck: sue me.

The Amen Break

The Winstons - Amen Brother (Metromedia, 1969)

As you will know if you've been tuning in this week I have a newfound obsession with breaks that is actually in danger of taking over my life. Whilst 'digging' on the net I stumbled across this short documentary that covers The Winstons' classic break from '69 that is not only one of the most heavily used in modern music, but also the foundation of a whole genre: the Amen break is the backbone of Drum 'n' Bass. This clip gives a nice overview of its usage as well as discussing the cultural implications of sampling and is well worth a watch despite the narrator's somewhat dull voice and the lack of any visual interest. Check it out and pay homage to one the the most important six seconds in modern music:

In The Beginning... Earth Rot Samples

David Axelrod - The Warning Talk (Part I), The Warning Talk (Part II) & The Sign (Part II)
taken from Earth Rot (Capital, 1970)
FDB Earth Rot Compilation

Man, this figurative crate digging is addictive. Since being put onto The Breaks I've devoted an inordinate amount of time over the last few days to getting my fingers dusty (unfortunately this is because my keyboard is filthy rather than by thumbing through old records: not quite as exciting). Given that the only other Axelrod album I own is 1970's 'Earth Rot' I thought that this would be a logical progression in my sample sources series given that it has provided inspiration for several major artists in the hip hop game. As I said before, there are many places on the internet which will tell you a lot more about this release than I could ever hope to, so make sure you check the links at the bottom of Monday's post if you're keen to learn me. On a personal level, I don't get as much out of this album as I do with 'Songs Of Innocence' and 'Songs Of Experience' largely due to the ethereal nature of the vocals, but it does have its moments and is surprisingly ahead of its time in terms of message as the album's focus is on man's impact on the natural world around us. Al Gore eat your heart out...

Whereas 'Holy Thursday' is a single track that has been used relatively widely, no single song on 'Earth Rot' has been sampled anywhere near as much. Instead, there are three key compositions here that beat-diggers have latched onto and so the following compilation contains these as well as the songs that have incorporated them into fresh musical entities. Here's the tracklist:

1. David Axelrod - The Warning Talk (Part I)
2. Diamond D - MC Iz My Ambition
3. The X-Ecutioners - Word Play
4. DJ Krush feat. DJ Shadow - Duality
5. David Axelrod - The Warning Talk (Part II)
6. Mos Def - Hip Hop
7. David Axelrod - The Sign (Part II)
8. Quasimoto - The Unseen
9. Common - Resurrection (Large Professor Mix)

By far the most sophisticated track of those that have used Axelrod's work on this compilation is 'The Unseen' which sees Madlib chop up a section of 'The Sign (Part II)' and flip it in a highly creative manner. The remainder of the selections essentially take a loop and slap some drums underneath bar Krush's 'Duality' which only takes the 'in the beginning' line from 'The Warning Talk (Part I)' to mark the transition between his and Shadow's sections of the song. All in, the quality of the tracks on this compilation acts as a testament to Axelrod's importance in the crazy world of hip hop sampling and beat-making... respect due.

Although there are more Axelrod works that have been mined by producers I'm going to leave this little series here but will be continuing to hit you with some classic breaks and the songs that they have inspired in the near future: stay tuned.

Blue Scholars - Back Home Video

The Scholars have received their fair share of props on the blog circuit since their debut leaked onto the net a few weeks ago. I still feel a little unconvinced by their 'Bayani' LP, but I have a suspicion it may be a grower for me so I'm keeping it in rotation for the moment. They've just released their first video for the track 'Back Home', and although I'm not particularly keen on this particular cut it's clear from the quality of the video that these guys are going to get pushed pretty hard by Rawkus and I believe that 'Bayani' is probably going to be one of those albums that sneaks its way into more than a few blogger's end of year lists. Unbelievably we're already at the halfway point for 2007: where is my life going!



Right, I've got a date with some sample geekery, I'll catch you when I resurface in a few days: take it easy.

FDB Goes Loop Diggin' - Holy Thursday Sample

David Axelrod - Holy Thursday
taken from Songs Of Innocence (Capital, 1968)
FDB Holy Thursday Compilation

As if I didn't spend enough time on the internet already, the work done by people such as Scholar over at Souled On, Jaz at Cold Rock Da Spot! and more recently by my man Eric at When They Reminisce... as well as many others have inspired me to enter a new realm of hip hop appreciation: the identification of samples and their incorporation into rap songs. It's not that this is an interest that has only recently surfaced as it has always fascinated me, but with six months of blogging under my belt and a multitude of newfound resources to pursue such activities it just seems more accessible to me than ever before. Of course, even in my early days of my discovery of hip hop music I was aware that artists used segments of other people's records for their own compositions, but it is only within the last few years that I have begun to genuinely appreciate the skill required in sourcing and utilising these hidden gems and the world of music that it has now opened my eyes to. Ah, the joys of the internet...

David Axelrod was one of the first musicians that I came across where I truly understood the concept of the sample, largely because of his 'contributions' to Shadow's debut LP which is arguably one of the greatest diggin' records of all time. 'Endtroducing...' was one of the first albums where I felt compelled to understand how the music had been constructed, and because of the substantial amount of press it received it didn't prove long before Axelrod's name surfaced in some interview or feature that I must have read somewhere. Subsequently I have come to realise that he has been a major source of inspiration for a wide range of hip hop artists including Dre, Diamond D, The Beatnuts and Pete Rock amongst a whole host of others. Off the back of this discovery I picked up both of Axelrod's Blake inspired works entitled 'Songs Of Innocence' and 'Songs Of Experience' back in my student days. I enjoy both of these albums but I'm not going to pretend that I know an awful lot about their musical heritage or Axelrod's work in broader terms, so hit the links at the bottom of this post for a more educated overview.

'Holy Thursday' is one of his most often used compositions, a haunting and beautifully cinematic piece that stands alone as a wonderful piece of music even without the intrigue generated for a hip hop audience by its employment in the songs found on this compilation. As expected, each artist who has used his work has managed to do so in a slightly different fashion ranging from a simple two bar loop to much more subtle touches. Indeed, there are so many elements from this song that have been used by the various producers on this compilation that it would be a lengthy task to detail them all in full here, but suffice to say that one or more of all of the following elements have been used at some stage including the strings, drum beat, piano, bass, xylophones and horns. Some are instantly identifiable whereas others require a little more concentration to spot, namely the use of the bass on Mix Master Mike's 'Black Level Clearance' joint and Madlib's jacking of the drums for one section of 'Return Of The Loop Digga'. Here's the tracklist:

1. David Axelrod - Holy Thursday
2. Apache - Tonto
3. Artifacts - 'C'Mon Wit Da Git Down (Remix)
4. Red Hot Lover Tone - Bust Tha Maneuva
5. Fat Joe - Bronx Keeps Creating It
6. Quasimoto - Return Of The Loop Digga
7. The Beatnuts - Hit Me With That
8. Mix Master Mike - Black Level Clearance
9. INI - Think Twice
10. UNKLE - Rabbit In Your Headlights feat. Thom Yorke
11. Mr Complex - C.O.R.E. Mix
12. Black Sheep - Without A Doubt (Lawnge Remix)

[Props to Rap 4 Real for the Lawnge remix]

Although I could have already named a couple of joints that have used 'Holy Thursday' myself I am entirely indebted to my new favourite online resource The Breaks, a website dedicated to samples and their uses (hope this wasn't meant to be a trade secret Eric...). It's only Black Sheep's 'Without A Doubt' that has me truly stumped as I can't hear any remnants of Axelrod's composition here, but I'm going to trust the information garnered at said website and wait for somebody to point me in the right direction: prove how much of a geek you are and leave a comment (the right direction turns out to be the Lawnge remix found on the original 12'': thanks for the help). Perhaps with a sense of pathetic pride my only addition is the Mr Complex track that has managed to escape the heads at The Breaks, so I can happily lay claim to being more than a little bit of a nerd myself, but I'm guessing you had probably cottoned on to that fact for yourselves by now anyway. Who knows, world domination may not be far away... geeks of the world unite!

Links to check out:
David Axelrod @ Wikipedia
The David Axelrod Information Society
David Axelrod's Official Website

Grab Your Bat - Naughty By Nature

Naughty By Nature - It's On (Beatnuts remix) & Hip Hop Hooray (Pete Rock remix)
taken from It's On 12'' (Tommy Boy, 1993)

Another 12'' treat for you today in the form of Naughty By Nature's 'It's On' release from '93. As with the A.D.O.R. single that I wrote about the other day, the success of this piece of vinyl is based on the fact that you get a lot of value for money. On the a-side you get the album version produced by Kay Gee plus an instrumental, but even better is that the b-side features a Beatnuts remix and the Pete Rock remix of 'Hip Hop Hooray': it's a truly bangin' 12'' that I am proud to own.

Although '19 Naughty III' did have its highlights, it did feel slightly inconsistent for me and 'It's On' was actually a song that passed me by originally largely as a result of the ridiculous one and a half minute skit that precedes it on the album. Still, as a stand alone track it is good with a trademark Naughty sound featuring evenly spaced piano chords and funky horn loop at the chorus. Treach and Vinnie deliver expectedly competent rhymes that demonstrate their absolute control of the mic, although there aren't really any particularly catchy lines here making this one of their slightly less inspiring vocal performances. However, all in, it's a solid track.

The Beatnuts remix changes everything. With a more aggressive snare hit and some of those sleighbells (is there a better percussive element to slammin' hip hop?) the track has significantly more momentum than the original. I really like the organ loop that runs throughout the groove as well as the funky horn sample and both of these elements contribute to a song that feels lively and musically rich. This track is a testament to the Beatnuts remixing abilities, but then you hardly need me to tell you about their skills behind the boards, do you?

Perhaps the most exciting element for me on this 12'' is the Pete Rock remix of 'Hip Hop Hooray'. Naughty were always best at producing party friendly anthems, and there is no denying that 'Hip Hop Hooray' in its original incarnation is just that. However, perhaps in part due to my obsession with all things Pete Rock, I think that this remix is better than the original and feels even more triumphant and uplifting. With Rakim's 'feed me hip hop and I'll start trembling' line resonating over the melodic piano chords below and Pete's trademark adlibs in the first four bars ('Naughty...remix') you know it's going to be a banger, and sure enough when the drums drop and layered horns float in you're in the presence of Soul Brother genius. I would draw a comparison with Rock's take on 'Jump Around' as in both cases he takes a crossover party smash and then puts his own unique spin on it effectively pushing the original into the shade. I know that his version of House Of Pain's classic track is highly revered, but I would argue that this is just as good and I'm surprised that it is not more widely known. Yet another killer Pete Rock remix.

I remember paying a reasonable amount for this when I copped it three or so years ago, but it was worth every penny. When you can flip the vinyl over and know that there's more than just some trashy b-side or instrumentals on offer then you know you're onto a winner. It's a simple formula, but take a great group, throw in a couple of great producers to handle the remix work and the result is a great 12''. Enjoy.