Tru Master - Pete Rock Live @ Jazz Cafe, London

After months of eager anticipation and an all day battle with the London Underground (a reminder of the perils of living in our nation's capital), last Saturday night heralded my first experience of Pete Rock live. The scope for disappointment in this particular case was massive: The Chocolate Boy Wonder is without a doubt one of my favourite recording artists of all time, and I have rarely, if ever, felt as excited about a gig. Would it live up to expectation, or would I walk away feel cheated? Let's find out...

Rather expectedly, there's a hell of a lot of good things to report. With doors opening at 11pm, it was a pleasure to see Pete grace the wheels of steel almost immediately as we got in, and with a set that lasted for just over two hours, there could never be any complaints that the performance was too brief. The set ran thematically, with the crowd being initially treated to a slew of late '80s classics before the transition into early '90s bangers and several sections covering key artists of the genre. These sections were particularly enjoyable: I mean, you can't go far wrong with a generous helping of Tribe, EPMD and the mighty Wu, and it was clear that Pete had read the crowd correctly as much lip-syncing and vibrant movements ensued (particularly from me). Finishing up with a half hour section of his own material was always going to get the Jazz Cafe rockin', and it did just that in fine style. Clearly a DJ of the true school persuasion, it was also great to see Mt. Vernon's finest make sure he made his presence felt on the mic as well with traditional call and response shouts going down a treat given the nature of the night. With a few beat juggles thrown in just to increase the flava, Pete's set was killer throughout. Phew, all good so far.

Inevitably, there were a few elements to the night that griped. First of all, it had been publicised as a DJ/MC set, so in all honesty I was expecting Pete to kick a few verses over instrumentals, but this never happened. No big deal, but the event would have felt all the more complete with some live rhymes, particularly over the classics like 'T.R.O.Y.'. However, the definitive low point of the event was rather frustratingly in the gig's dying phases, where Pete showcased some of his new material. Now I've already highlighted the fact that I really like the recent a-side '914', and it did go down well with the crowd, but unfortunately the remainder of the new joints were simply not uptempo enough to keep the high energy levels of the evening going effectively. I'm also sorry to admit it, but my first impressions of the three or four songs he played were not good, as they lacked the immediate punch that characterises so much of his extensive back catalogue. Bottom line? They didn't work in a club. I sincerely hope that this was a result of circumstance rather than a true indication of my feelings of the songs themselves: here's hoping they leave a more distinct impression on me when absorbed for a while at home after I cop the album in January.

Despite these factors, there is absolutely no taking away from Pete's skill as a true party rocker. The songs played and the way in which they were sequenced was masterful, clearly the result of years of perfecting the craft. The vibe of the crowd and Pete's astute DJing abilities made for something truly special: myself and crew had a sensational time. I even managed the obligatory end of night photo with the man himself after muttering something to the tune of 'your music has really made a difference to my life', but the smile on Pete's face alleviates my worry that I made a total dick of myself. However, I am vaguely concerned that I may have an abnormally small head given the proportions displayed below.

















It goes without saying that if Pete Rock rolls through your town then you'd be a fool to miss it: I have rarely seen a set put together with such an confident sense of style and finesse. The obsession with all things Chocolate Boy Wonder lives on... rejoice!

A Sweet Serenade - 'Lots Of Lovin'' Beat Deconstructions

Pete Rock & C.L. Smooth - 'Lots Of Lovin'' & 'Lots Of Lovin' (Remix)'
taken from Lots Of Lovin' 12'' (Elektra, 1991)

Ohio Players - 'Players Balling (Players Doin' Their Own Thing)'
taken from Pain (Westbound Records, 1971)

Ohio Players - 'What's Going On'
taken from Climax (Westbound Records, 1974)

Don Covay & the Jefferson Lemon Blues Band - 'If There's A Will There's A Way (Southside)'
taken from Different Strokes For Different Folks (Janus, 1970)

[Got to give a special shout out to my brother Tim on this post who not only loves this track, but who has also just joined the blogging game with a site devoted to his primary passion: Arsenal FC. P-Zone representin' to the fullest!]

Given that I am now precisely 49 hours and 32 minutes away from seeing Pete Rock live in London (but who's counting), it will probably come as little surprise to you that I've spent the best part of the last week revisiting his vast discography with butterflies of excitement taking up full-time residence in my belly. Hyped? The word doesn't even come close. However, in the interests of avoiding another lengthy 'I love Pete Rock' rant, let's get straight into some beat deconstruction: sticking to what you know best is always a winner.

In some ways, 'Lots Of Lovin'' was an anomaly on Pete Rock & C.L. Smooth's towering full length debut. In the midst of all the uptempo, neck-snappin' madness, Pete still found time to smooth the groove out a little, and the result was nothing short of extraordinary. A hip hop love song of the highest order, few other artists have been able to pull off a style that verges so dangerously on the corny with such class and finesse: 'Lot's Of Lovin'' is a certified banger.

One of Pete's trademark beat skits precedes the song on the album, a straight jack of about five or six bars from the Ohio Players' track 'Players Balling (Players Doin' Their Own Thing)' from their 1971 LP Pain. A funky little riff with tinkling keys and hand claps is the perfect appetiser for the beat that drops at the 0.22, which incidentally finds its main theme from the same band's cover of Marvin Gaye's 'What's Going On'. The two bars in question can be found at the 5.42 mark, and as well as sampling the melody from this glorious four seconds, The Chocolate Boy Wonder keeps the skipping drum track in as well to form the percussive spine of 'Lots Of Lovin''. There's an exceptional glow to the break itself that translates perfectly into its newfound audio environment, generously providing a smooth, sumptuous, soul-enriched pedestal on which C.L. Smooth can deliver his proclamations of love and desire for the lady in his life. I'm not sure where the other layer of samples comes from, but the combination of keys, flute and vocals extends the scope of the song significantly, only to be masterfully stripped away during the verse sections. It's rare that you can state that a hip hop song is beautiful in such a traditional sense, but 'Lots Of Lovin'' is just that.

The remix is a treat as well. With signature remix adlibs firmly in place, the cut has a more traditional Pete Rock vibe about it which, of course, is no bad thing. The break can be found on the song 'If There's A Will There's A Way (Southside)', performed by the equally extensively named Don Covay & the Jefferson Lemon Blues Band. Unfortunately, I have absolutely no knowledge of the artists in question, but the song has encouraged me to dig a little deeper into Covay's back catalogue as the song is excellent. It's the first couple of bars to check for in this case, a silky blend of electric piano, guitar and drums that serves the remix well, although for me, it could never surpass the original. It's interesting to note that C.L.'s lyrics are decidedly more raunchy in the first verse here than at any point on the original: I guess the remix brought the beast out of him.

47 hours and 57 minutes. Yea, I'm still counting.

Boom Bap Circa '81 - 'UFO' & The Chocolate Boy Wonder

ESG - 'UFO'
taken from A South Bronx Story (Universal, 2000)

ESG - 'UFO' @ 33rpm

My recent journeys through sample sources have opened my ears to a wide variety of incredible music from the past that I feel excited to have discovered, but no break that I have come across has intrigued me as much as ESG's 'UFO' taken from their self-titled debut EP from 1981. Made up of three South Bronx dwelling sisters and a close personal friend, Wikipedia cites the band as an 'art-funk ensemble' that could also be considered 'post-punk' or 'post-disco'. To be honest with you, I'm not even sure what these terms are meant to mean, and I don't know enough about the band themselves or music of that period in more general terms to fully gauge where they would fit into the wide spectrum of music of that era. However, from a hip hop enthusiast's perspective there is an element to their song 'UFO' that is nothing short of mind-blowing, pre-empting a sound that would dominate hip hop during its most creatively productive and downright bangin' period. Boom bap in 1981? You betcha.

The song's allegiance with this particular sound actually came about by accident. In its original form the track is a high tempo instrumental number permeated by distorted guitars and prominent drums, but the simple act of selecting 33rpm on your 1200s instead of the intended 45rpm changes the nature of the song and heralds its transformation into a very different beast. Sampled heavily over the course of hip hop history, the whirring guitar track that opens the song becomes more like a siren with the change in the song's speed, a noise that you will find remarkably familiar through its incorporation into banger after banger over the years. At 33rpm, you could be forgiven for mistaking 'UFO' as something Buckwild put together in his heyday such is its similarity to the sparse, gritty soundscapes that define the era in which he was at his most prolific. A musical accident it may be, but it is a delightful one that will leave you aghast at the fact that something produced in 1981 could have such a close proximity in sound to a phase in hip hop that would not come about until almost a decade later.

A Taste Of NY's Finest - '914'






















Pete Rock - '914' ft. Styles P & Sheek Louch
taken from 914 12'' (Nature Sounds, 2007)

The 'UFO' break leads me conveniently on to some of Pete Rock's latest material, the only piece of vinyl I copped whilst over in NYC whose a-side uses the sample to great effect. I realise that I'm a little late on this one as the single has been out for a while, but it surprises me that it hasn't received more exposure on the blog circuit given both Pete Rock's legendary status and the quality of the 12'' as a whole. Both sides of the wax are highly enjoyable affairs that adhere closely to Pete Rock's signature production style, and if these songs are an indication of the quality that will be found on the upcoming album, NY's Finest promises to be killer.

'914' is a bouncy, hard-hitting number that relies on its simplicity and sense of momentum to succeed. The use of the 'UFO' sample is a bold statement that almost seems like a message to those less established in the game, Pete's way of affirming that he really is the finest that New York has to offer. In eschewing the tendency to avoid often used breaks Pete successfully attests that quality hip hop needn't be contrived or overly complicated and '914' is his proof: it's simple, it's clean and it's bangin'. The verses from former LOX members Styles P and Sheek Louch are nothing to write home about, but the rhymes are decent enough to ride the beat and inoffensive enough so as not to detract from the slammin' instrumental track below.

I don't think there is an official release date for NY's Finest yet, but believe me, when I know, you'll know. Although there have been some quality album releases this year, none of them have roused anywhere near the sense of excitement and anticipation that I have felt by the thought of a new Pete Rock album. Maybe it's just a case of being an over-excited fanatic, but I hold a confidence that NY's Finest could be something special: let's hope this sentiment isn't misplaced. Bring it on... I'm ready Pete!

FDB/FWM Unite! Top 5 Pete Rock Remixes

Given that I am just coming off the back of a nineteen hour door to door trip from NYC, there is a serious risk of me descending into incoherent rambling if I don't keep myself in check. Needless to say I had a great time hanging out in the Big Apple and will be putting together a post over the weekend detailing some of the experiences that may interest you (read: I'll be focusing on music, not what I had for breakfast). My jet-lagged hazy state will hopefully have cleared by then...

Fortunately, I have something a little special up my sleeve to mark my return in the shape of a collaboration with Flood of the mighty floodwatchmusic.com. I've long considered Flood to be a key member of my internet-based crew, and have always admired his blog for its eclecticism, deep musical understanding and downright dope write-ups, so it's a real pleasure for me to be collaborating with him on what we hope will be a series of posts that celebrate a producer who we both have a lot of love for: Pete Rock. What began as a jokey aside about a 'Pete Rock Appreciation Society' has now come into fruition, and we hope that you'll get as much out of these posts as we have collaborating on this one. The format is simple: taking turns to nominate Pete Rock related points of discussion we will then work collaboratively to combine our opinions about the matter at hand in the hope that the result will have a greater depth of analysis than if we were running our usual one-man shows. I was first up and chose to nominate my top five Pete Rock remixes of all time: here's the fruits of our labour...

FDB Top 5 Pete Rock Remixes

FDB: Whittling down my favourite Pete Rock remix productions to a mere five is a near impossible task that has caused me much turmoil over the last couple of weeks, but as I wipe the final drop of sweat from my brow, these are the constant flames that have risen from the ashes of my fortnight’s procrastination. Time for some analysis…

The first thing to note is that all five of my selections fall into a two-year time frame, rather expectedly in between the two Pete Rock & C.L. Smooth albums. Of course, this wasn’t just a great era for our boy Pete Rock, but for hip hop music in general, so there are few surprises here, but it is indicative of the fact that this period would probably be generally regarded as the vintage years for Mount Vernon’s finest (something that Flood has already drawn attention to with his Pete Rock instrumental mix). I could roll out a list of superlatives as long as my arm here, but these are all perfect examples of his characteristic production style of the era: uptempo vibe, boomin’ drums, screeching horn tracks and a big slab of soul all working together to create warm, sumptuous and, somewhat paradoxically, gritty packages that all fans of the genre have come to worship over the last decade and a half.

FWM: I’d say the genesis of Pete Rock’s entire style occurred sometime around ’91 or ‘92, which rapidly came to fruition on the All Souled Out EP (1991) and the Mecca and The Soul Brother (1992) record. Soon everyone from PM Dawn to Biggie was requesting the remix treatment from him. What amazes me now, in retrospect, is how intact and advanced his production style was when he entered the game; there is a level of inherent musicality in each of his tracks that would seem to come from years of crate digging and woodshedding with the SP-1200. Rarely does one hear a Pete Rock production or remix from this era that could classify as 'transitional', or even 'experimental'. There is a confident intent of purpose to his early work that is is often lacking in the output of most young producers, to say nothing of his originality and innovations.

FDB: The second thing that strikes me about these selections is that in all five cases, the songs in their original incarnations are all slammin’, and this should lead us to a fuller appreciation of Pete Rock’s remixing abilities. It is significantly simpler to take a wack song and make it better than to take an already great song and make it greater, so the fact that these are all bangin’ in the first place simply serves to highlight his production prowess. These are anthems made into even bigger anthems, and I think you would be hard pressed to find another beatmaker in the game who has managed that feat with such consistent finesse.

Das EFX - 'Jussumen' (EastWest, 1992)

FWM: I find it hard to consider any Das EFX platter a ‘classic,’ even their debut. While Dre and Skoob revolutionized hip hop lyricism in terms of delivery and wordplay, more often than not they lacked a distinctive musical counterpart to complement their unique approaches to the mic. My chief complaint with Dead Serious (1992) is the uninspiring but serviceable production, a stock assembly of James Brown loops and Skull Snaps drums that lacks any sort of personality. Enter Pete Rock, whose remix of 'Jussumen' (originally appearing as a B-side on the 'Mic Checka' 12”) should’ve been the blueprint for the remainder of the album’s tracks. Pete was going apeshit with those Mountain drums back then, and one can detect their presence here, buried into the fabric of the track. It’s noisier and a lot more textural than I would expect from him at the time, but it works beautifully for the duo. Favorite moment: at 0:58, when the music drops out as Dre begins his verse with a “yiggidy yes.”

House Of Pain - 'Jump Around' (XL, 1992)

FDB: This remix falls much in the same vein as the “Hip Hop Hooray” remix, in that in both cases Pete Rock takes a crossover smash and makes it better. However, it shares more sonically with his work on 'Shut ‘Em Down', released in the same year and featuring similar musical elements in its composition. The opening eight bars are crafted beautifully, the warm and playful bassline providing a backdrop for the gradually building drum track that drops hard into the first verse. The upbeat tempo of the song and horns that echo in and out of the mix propel the groove forwards throughout the verse sections and the additional horns at the chorus make this song feel glorious. Whereas the ‘Shut ‘Em Down’ remix has a slightly darker quality, the ‘Jump Around’ remix is a straight up party banger whose sole purpose seems to be to get you on your feet with your hands raised skywards. It works.

Public Enemy - 'Shut 'Em Down' (Def Jam, 1992)

FWM: This remix gives me chills to this day. Not to slight the Bomb Squad (who executive produced), but this reinterpretation is so much better than the original that it eclipses it entirely. What I love most about the production here is its dense, circular claustrophobia, a nebulous mass of sound that’s almost suffocating. Again, Pete uses those crushing Mountain drums as a foundation for a continuous sax line that weaves in and out of this mix, a filtered ascending bassline, and a strange vocal sample that makes an occasional appearance on the downbeat. The sheer power of this track, combined with Chuck D’s booming vocal, could move an army at full volume. And to top it off, the Soul Brother #1 spits a playful eight bars in the middle of the chaos – just because he can.




Naughty By Nature - 'Hip Hop Hooray' (Tommy Boy, 1993)

FDB: To my mind, Naughty By Nature should be considered the blueprint for the perfect hip hop crossover group, as they managed to successfully craft cuts that had a broad appeal whilst maintaining the gritty aesthetic favoured by true hip hop enthusiasts. 'Hip Hop Hooray' could perhaps be considered the pinnacle of their achievement, its uplifting, anthemic nature certifying it as classic material. In light of this, The Chocolate Boy Wonder’s accomplishment with his reinterpretation of the song is nothing short of astonishing, as I feel it trumps even the original’s bounce and sense of grandeur. The delayed horns are of course an essential feature to this particular beat, but perhaps of greater interest for me when considering Rock’s wider discography is the use of a piano sample in this instance, an instrument that he pretty much left alone on Mecca & The Soul Brother and which only featured spasmodically on The Main Ingredient. The incorporation of Rakim’s line from 'Microphone Fiend' rounds the cut off perfectly, as do Pete Rock’s signature remix adlibs that let you know who’s in charge of the boards just in case you hadn’t guessed it already.

Jeru the Damaja - 'Can't Stop The Prophet' (Payday/ffrr, 1994)

FWM: I hadn’t come across this remix until recently, and after years of internalizing Premier’s original, it admittedly took some warming up to. What eventually sold me was, of all things, the snare that Pete uses here, and the way he decorates the drum track with additional hits to increase the boom-bap factor. A strong jazz flavor (which always complemented Jeru’s delivery well) is prominent as well, as Pete utilizes a descending vibraphone progression for melodic content, and in two octaves for additional variety. The minute and a half of scratching and cutting that closes the track is the sweetest kind of aural candy to these ears.

Electrifying? Pete Rock Ear Drum Contributions

Talib Kweli - Holy Moly & Electrify
taken from Ear Drum (Blacksmith, 2007)

From the highs of his early work with Blackstar and Reflection Eternal, to the lows of Quality and The Beautiful Struggle, I feel that it has been hard to maintain belief in Talib Kweli for the last five years or so (I remain unconvinced by Liberation, despite the ripple of hype that it caused at the turn of the year). Consequences inevitably follow: unfortunately for Kweli, the erratic nature of his output in more recent years has somewhat tainted my opinion of his earlier works, and although I still love the beats on the Blackstar and Reflection Eternal joints, I have become increasingly despondent about Kweli’s mic skills as time has gone by. At his best he is capable of intelligent and engaging lyricism with regards to content, but his flow often feels contrived and he lacks the swagger and style of more naturally accomplished MCs. It is in light of these feelings that Ear Drum has sat on my desktop for the last few weeks dormant, and it was only yesterday that it made it out of the confines of its zip file and into rotation. I’ve been sleepin’: Kweli’s back on form.

Now I was going to roll out the full album treatment here, but after surfing on the net for a little while and reading The Smoking Section review of Ear Drum, it feels a little pointless, as they’ve summarised many of my sentiments so succinctly that I think I’ll struggle to put it into my own words without mirroring many of theirs. Instead, I thought I would indulge myself in a little more Pete Rock geekery and take a more detailed look at his two contributions to Ear Drum, ‘Holy Moly’ and ‘Electrify’. With one beat placed on a big release already this year (the decent but somewhat uninspiring ‘Gimmie One’ from Redman’s latest album), could the Chocolate Boy Wonder still be rockin’ it for the masses in ‘07? Let’s find out…

I'm going to start with 'Holy Moly' because (wait for it) I don't like it. Apart from anything else, it doesn't really sound like Pete Rock, and I think you would be hard pushed to identify it as the work of the Chocolate Boy Wonder given the shift away from his trademark style that it represents. In some ways, I can see what he was trying to do with this one, further updating his 'brighter' production style that emerged with Soul Survivor II and Ed O.G.'s My Own Worst Enemy, and it does fall in line with current trends in mainstream hip hop production. The sped up soul vocal samples and off beat percussion could perhaps be more easily associated with one of today's big hitters like Kanye, but it doesn't work for me, so much so in fact, that I have struggled to make it through the cut in its entirety. I'm gonna chalk this one off as an experiment and forget about it: I suggest you do the same.

With that behind us we can move to greener pastures in the shape of 'Electrify', which is an entirely different kettle of fish and currently ranks amongst my favourite beats of the year so far. Built around a jangling acoustic guitar riff and some well chosen soul samples, this is a richly textured song that screams quality, with multiple layers combining to create a truly beautiful beat. In addition to this, the song is aided by one of Kweli's finest lyrical moments of the album in which he breaks down the echoes of criticism that must have plagued him for the last half decade, answering them with eloquence and style whilst simmering over the beat below.

Here's the best bit. I always love to ride a song out on a beat, but with 'Electrify' Pete Rock accomplishes something truly special. Just after the final chorus hook he lets the grrove roll for another eighteen bars with few changes, but at the 4.03 mark, his genius truly shines. Ascending bass notes carry you into the final instrumental section of the song, and with the soul vocal tracks and strings now gone, the beat opens up for its final half minute or so. Various musical components that have featured at other points in the composition are brought back in, perhaps most notably the two extra guitar tracks which provide the composition with an increased sense of space, and the result is... electrifying. This has had the hairs on the back of my neck standing at attention all day, and I doubt I'll be able to release myself from its infectious quality for some time to come.

Granted, one out of two isn't the sensation that I was hoping for when I realised PR had placed a couple of contributions on Kweli's Ear Drum, but such is the quality of 'Electrify' that I walk away from this analysis with a feeling of contentment (I mean, I can't like everything that he produces). To be fair, my enthusiasm for this particular song is probably boosted by the news I received the other day: Pete Rock is playing at London's Jazz Cafe on September 28th and 29th. In a pant-wetting fit of excitement I managed to book my ticket yesterday; if you're going to be in town then I'll assume that you'll do the same (pant-wetting remains optional). On a more general note, do make sure that you give Ear Drum a go in its entirety, but needless to say my fingers will be firmly fixed on the repeat button for a little while yet: Mount Vernon's finest has still got it.

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:

Count Your Blessings - Pete Rock

Pete Rock - It's A Love Thing feat. CL Smooth/Denosh & Appreciate feat. CL Smooth
taken from Soul Survivor II (BBE, 2004)

For any regular visitor of this site you'll know that I am a diehard Pete Rock fan, but I'm not going to lie about the fact that my initial impression of 2004's 'Soul Survivor II' was one of unprecedented disappointment. There used to be a great record shop in Bristol called Imperial Music which has now sadly closed its doors, but it used to be a regular spot for me to pick up my latest slabs of vinyl and check out a variety of bits and pieces in an inviting and unpretentious environment (you can't say that for many record shops). I'd already heard the 'Warzone' track with Dead Prez and was distinctly unimpressed, and on an initial play through the album whilst in the shop, my initial disappointment was so great that not only did I not buy the record, but I didn't actually listen to it again until very recently, instead choosing to blank it out from my memory in the hope that it would not tarnish my undying love for everything that the Chocolate Boy Wonder had previously turned his hands to. Ridiculous I know, but there you have it.

I've since corrected this fallacy and have given the record a proper chance, only to be rewarded in ways that I didn't think were possible. Although this is by no means Pete Rock's greatest work, there are still more than enough quality tracks on this album to keep long-term fans happy as well as those who may be new to his work. There are unfortunately a few low points to deal with as well, not least the aforementioned Dead Prez collaboration that is the nadir of 'Soul Survivor II', but you can't front on Pete Rock's general consistency here, particularly when you take into account that this was released almost a decade and a half after his first appearance on the wax with the classic 'All Souled Out' EP.

It will probably come as no surprise to you that my favourite two cuts on the album are those featuring Rock's old partner in crime and certified mic legend C.L. Smooth. 'It's A Love Thing' is an upbeat, soulful and summery number that sees C.L. waxing lyrical about the charms of his lady friend, and although the R 'n' B chorus hook and mid-verse adlibs may put off the more hardcore heads out there, I love it: a slab of Pete Rock soul in all its glory. In addition to this, the album closer 'Appreciate' is not only the best cut on 'Soul Survivor II', but easily holds its own against the vast number of bangers in Pete Rock's wider discography. The funky guitar and vocal loop, crispy snare hits and warm, filtered bassline work beautifully together and combined they create a trademark Soul Brother sound that is irresistible. On the mic, C.L. delivers three excellent verses that are laced with positivity, emotion and beauty, and the end result makes me yearn for days gone by when the duo were at the height of their powers and hip hop was not under such profound attack by the forces of mediocrity that are ravaging the genre today.

Whether you passed this up when it was first released as I did, or simply haven't gotten around to checking it out, I recommend that you give 'Soul Survivor II' a try. Although it's not going to blow you away, this album goes down as a 'grower' for me, with each listen bringing a slightly reluctant but increasingly large smile to my face. Skip a few tracks here and there and you are in fact looking at one of the more successful full lengths of the last few years, although I'm perfectly willing to admit that this viewpoint is subject to a healthy dose of bias: this is Pete Rock, after all.

Chocolate Boy Wonder - Pete's Jazz

Although the one-track blogs of old are now in the minority, I'd thought I'd tip my hat to the old school this evening and hit you with just one joint. The reasons for this are numerous. Partly, 'Petestrumentals' is still in print and easily accessible (pick it up here) and so I do have some qualms about posting the album in its entirety (although I am aware that this has not been a consistent feature of the albums that I have posted). More importantly, this is my favourite Pete Rock beat of all time, and as such, it deserves its own post.

For most die-hard music fans, there will be a large number of songs that have the capability to transport them to another time and place. It may not be your favourite track of all time, but for whatever reason it reeks of a certain moment in your life. 'Ms Fat Booty' transports me to a summer spent with mates whilst my parents were on holiday, whereas Rahzel's 'If Your Mother Only Knew' will always take me back to my first year in university: the list goes on... What's extraordinary about 'Pete's Jazz' for me personally is that it reminds me of innumerable moments over the last five years: it has brought me so much pleasure, so often, that it is impossible to distinguish one single moment in time that it encapsulates beyond all others.

In all honesty, I probably listen to the intro section, first 'verse' and chorus more often than I do the song in its entirety before I find myself reaching for the rewind button. There is something incredibly captivating about this first 32 bars or so that gets me every time. The initial drop into drums and bass, the subtle sax loop, the breakdown and then onwards into a stripped down percussion section before all of the samples weave in and out of the beat collectively on their way to the chorus. When it drops, the song opens out into a spacious sonic landscape that raises the hairs on the back of my neck every single time.

There is a remarkable complexity to this tune and it would be nothing short of criminal to have someone spit over the top of it. Although I generally try to mime various instruments when I am listening to songs that I really love (much to the potential disdain of those around me), the bass kick on 'Pete's Jazz' is beyond my amateur mime act. And yet at the same time, it by no means dominates the music, and instead slips in perfectly alongside the other layers involved in the composition. This 'complex simplicity' is indicative of the track as a whole: the subtlety with which it is constructed is staggering.

Bottom line, I'm never disappointed when I listen to 'Pete's Jazz'. In a discography that has such consistency and quality, favourites will always come down to personal preference, with each head able to argue the case for their particular choice. Whichever Pete Rock track is yours, I hope that it brings you as much joy as 'Pete's Jazz' does for me: this song is one of the reasons that I love hip hop.

Pete's Jazz