I Need A! I Wanna! - Q-Tip Beat Series Part IV

Monty Alexander - 'Love & Happiness'
taken from Rass! (MPS, 1974)

Lonnie Smith - 'Spinning Wheel'
taken from Drives (Blue Note, 1970)

[Note: Thanks to reader 'jaycee' it is clear that my ears did not deceive me. The drum loop in question is Little Feat's 'Fool Yourself' as made famous by 'Bonita Applebum', although it remains a possibility that the sax sample comes from 'Spinning Wheel'. If you know, I'd appreciate the info.]

Apache - 'Gangsta Bitch'
taken from Apache Ain't Shit (Tommy Boy, 1993)

Lack of inspiration and a heavy workload have kept me admirably occupied over the last week or so: apologies for the lack of activity here at FDB. I've had this post in the vault for a while, but it is the magnificent series of recent drops over at Soul-Sides that has finally lit a fire under my arse and inspired me to roll it out. If you've missed out on the 'Who Flipped It Better?' series that Oliver Wang has been churning out at a rate that puts this here blogspot to shame then make sure you check it out: O-Dub is indisputably one of the kings of the blog scene. Tuesday's installment covered the Monty Alexander break 'Love & Happiness' and contrasted the way in which it had been used by both The Beatnuts and Q-Tip, and with my ongoing analysis of The Abstract's deft production style, it feels fitting to finally get around to his work on the Apache track 'Gangsta Bitch'. Let the proceedings commence...

Originally released as a 7 inch by Tommy Boy in 1992, 'Gangsta Bitch' eventually found its place on Apache's release from '93, the humourously titled Apache Ain't Shit. To be honest with you this particular album has always left me a little cold: all the ingredients seem to be in place for something of quality (decent production roster, Flavor Unit affiliations etc.), but as a whole it lacks something that means it has not received a massive amount of airplay from me. Of course, there are still some treats here to savour, no less so than with the aforementioned cut that features Tip on the boards. I believe that Ego Trip rates this song as one of the best single tracks of the year, and although I feel this is an over-exaggeration, it is without a doubt a solid jam whose success relies on the beat as opposed to Apache's lyrical ode to the fly, street-savvy honeys of the ghetto which for me occupies the realms of the mediocre. It's not that the rhymes are bad by any means, but the chorus hook in particular grates, and the result is a tarnishing of the track in its entirety that I struggle to get over.

Tip turns to Monty Alexander's cover of 'Love & Happiness' for the main groove here, yet another example of an artist and song who I have only very recently stumbled across as a result of virtual digging and who I know very little about (oh, to be a genuine, dusty-fingered crate-digger!). The section of the song to focus on arrives at the 4.06 mark with a stripped-down two bars of percussion, electric piano and guitar tracks, although it is really only the electric piano part that survives Tip's use of filters to draw out the main groove for 'Gangsta Bitch'. The Breaks also notes the use of 'Spinning Wheel' by Lonnie Smith, a sample source that Tribe mined on two separate occasions with both 'Can I Kick It?' and 'Buggin' Out' to great effect, but I can't hear it myself: answers on a postcard folks.

There are other subtleties to the composition that fill the beat out, giving it a plush, melodic feel. The echoing horn stabs (perhaps taken from 'Spinning Wheel'?) that appear intermittently throughout the cut provide an extra layer of sound that works very well nestled in between the other samples, and scratches at the chorus add a necessary interest to what is essentially a simplistic piece of production work. What particularly interests me about this song is that although it contains many trademark Q-Tip production touches, it is by no means instantly recognisable as a piece of his work, thereby serving as yet another demonstration of his ability to modify his production style in subtle ways that really affirms his skill and versatility behind the boards during his most prolific period of beat-making.

I'm going to try and sort my priorities out this week (read: I'm going to ignore the responsibilities of the rest of my life in favour of some committed internet time), so stay tuned this week for an increased frequency of posts (just don't hold me to it). Sunday afternoon lazin' awaits: I'll catch you later.

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!

Forever To The East - 'Go On & Cry' Sample

Les McCann - 'Go On & Cry'
taken from Another Beginning (Atlantic, 1974)

Lords Of The Underground - 'No Pain' ft. Sah-B
taken from Keepers Of The Funk (Capitol, 1994)

Cella Dwellas - 'Good Dwellas'
taken from Realms 'N Reality (RCA, 1996)

Dream Warriors - 'California Dreamin''
taken from Subliminal Stimulation (Capitol, 1995)

My learning curve over the last six months or so with regards to sample sources has been incredibly steep, and I'm still at the stage where I regularly stumble across artists who I had previously never heard of only to realise that brief moments of their music already fill me with a sense of glowing familiarity. Les McCann is the latest member of this group, and I feel somewhat embarrassed that I've never come across his work before as he has been recording music for nearly 50 years and has at stages achieved significant commercial successes. Although I know very little about him, listening to his 1974 album Another Beginning has inspired me to dig a little deeper into his work, and like so many of his other releases, it has been mined by some of the more discerning hip hop producers in the game since the early '90s. 'Go On & Cry' is a nice little soul/jazz number that is reflective of the album's sound as a whole, and despite a tendency towards the corny, it is a release that I would recommend you familiarise yourself with as a jumping off point into his wider discography: it's been serving me well over the last week or so.

It's the initial eight bars that are the key focus for the sample spotters amongst you, a soothing intro to the song that features a melodic keys track and lilting guitar riff that is scattered with various percussive touches (I particular like the cow bells at the end of the fourth bar) that provide it with a rich musical texture. The introduction of a trumpet at the 0.10 mark simply serves to increase the flava of this section of the song, and its tempo and laid back vibe mean it is literally begging for some beefy snares and displays of lyrical wizardry. Of course, I wasn't the first person to realise this, and the excellent selection of cuts presented are all heavily indebted to McCann's work in the creation of their boom bappin' audio landscapes.

My personal favourite is the K-Def produced 'No Pain' taken from the Lords Of The Underground's sophomore release Keepers Of The Funk. Although the album as a whole is excellent, this has always been one of the clear standouts for me with beats and rhymes complementing each other perfectly. K-Def opts for bars five and six of 'Go On & Cry' which means the trumpet track is a prominent feature of the beat, and as a whole its littered with the kind of subtleties that make him one of the greatest producers to have graced the boards. I've actually laid my thoughts down on metaphorical paper in the past regarding the Cella Dwellas' debut Realms 'N Reality, so there is little need for particular expansion here suffice to reiterate that 'Good Dwellas' remains the pinnacle of their achievements on an album of variable quality that lacks that je ne sais quoi that divides the good and the seriously dope. Finally, the self-produced Dream Warriors' cut 'California Dreamin'' is another example of a highlight from an otherwise mediocre affair that can be found on their Subliminal Stimulation LP from '94, the only song of the three here to incorporate loops from both halves of the eight bar intro. It's solid, but for me it lacks the raw punch of the two aforementioned cuts that makes them so successful.

At the age of 72, McCann is still producing music and taking it on tour, a testament to the idea that music can keep the flames of life burning strongly during the latter stages of our time on the planet (do you think over-analysis of hip hop whilst sat behind a computer screen can have the same effect? I sincerely hope so). Whether you are familiar with his music or not, there is no questioning his contribution to the culture of hip hop over the years, and these three songs demonstrate the ease with which his compositions have been transposed into their newfound contexts. Keep the fire burning Les: it's safe to say that you get props over here.

It Could Happen To You! 'Them That's Not' Beat Deconstruction

J-Live - 'Them That's Not'
taken from The Best Part (Triple Threat, 2001)

Eddie Russ - 'All But Blind'
taken from Fresh Out (Jazz Master, 1974)

Man, the sibling rivalry must have been a bitch in the Philips' household in Mt. Vernon back in the day. Although older brother Pete is by far the more prominent and accomplished beatmaker, it would be a serious fallacy to overlook the work of his younger sibling Gregory (Grap Luva), who despite a considerably quieter and less widely acknowledged career behind the boards has at times demonstrated a proficiency in hip hop production skills that matches even the Olympic heights of his brother. Perhaps more well known for his rhymes than his beats, Grap's most high profile appearance in the annals of hip hop history must surely be on INI's Center Of Attention LP, an album that doesn't seem to me to receive the full credit that it deserves. However, he's also built a career in production, and although its contents are nowhere near as prolific as his sibling's, there are still some serious gems that establish him as an artist of serious quality who has at times been able to step out of the significant shadow cast over him by the Chocolate Boy Wonder.

When I arrived in Bristol in 2000, the hip hop scene was thriving. On an almost weekly basis I was able to catch some incredible live hip hop that sadly doesn't make its way here anymore, indicative of both a change in focus in the local scene as well as on a much wider scale. During one such occasion at a Pharcyde gig their DJ span a tune in the warm-up session that literally blew me away. Increasing in tempo over the course of the first minute, the song then took on a whole new sense of being as a slammin' drum track and bass were introduced: I was sold. After animated discussions with friends I discovered that the song was called 'Them That's Not' by an artist who I had previously not heard of called J-Live. It remains to this day one of my favourite beats of all time.

Grap turns to Eddie Russ's 'All But Blind' track from his Fresh Out LP released in 1974 for his sample fix here, ignoring the lead band member's electric piano contributions to the song in favour of Larry Nozero's sax part found at the 0.13 mark. The six descending notes that eventually rise up to settle into the groove after this initial flurry of activity form the backbone of Grap's composition on 'Them That's Not', a wonderfully constructed beat that is both original and executed with devastating effect. The rising and falling tempo throughout the song matches J-Live's cautionary tale of the pitfalls that lie in wait for the MC who allows success to go to his head too quickly, and it is this coherence of lyrical content and beat that make the song such an undeniable success.

The song is littered with favourite moments for me, but there are subtleties to the beat's construction that particularly stand out. The way the rumbling bassline drops at 0.57 and teases you before the introduction of the neck-snapping initial snare hit at 1.00; the high hats dropping out of the mix at 3.09 as the song begins its gradual descent in tempo only to be reintroduced six seconds later at half the pace; the steadily growing volume of J-Live's scratching as the song builds again from 4.00 until the final drop at 4.16. It is this attention to detail combined with the less-than-fussy final product that has made it a staple in my hip hop canon.

Although Grap will never fully detach himself from his position as younger brother to Pete Rock, this is due to the latter's incredible successes rather than any shortcomings on his own part. Perhaps in another lifetime and with a less high profile sibling it would have been Grap who could have become a true hip hop sensation, but as it stands, he will remain a producer who has little fame beyond the more discerning fans of the genre. Credit where it's due: 'Them That's Not' proves that Gregory Philips can make moves with the best of them.

Represent To The Fullest - Q-Tip Beat Series Part III

Nas - 'One Love (Instrumental)'
taken from Illmatic (Columbia, 1994)

[It seems pointless posting up the song with lyrics so here's the instrumental. Can't remember where I came across it exactly, but thanks to whoever may have posted it up in the past.]

Heath Brothers - 'Smilin' Billy Suite Pt. II'
taken from Marchin' On (Strata East, 1975)

Clyde McPhatter - 'Mixed Up Cup'
originally found on Welcome Home (Decca, 1970)

Despite Tip's 'slept on' producer status, there is no denying that he placed himself amongst a elite group of beatmaking individuals when he made a contribution to Illmatic, a record whose magnitude needs little discussion here. 'One Love' is of course a standout amongst standouts and comparisons with other songs on the album are somewhat arbitrary, but it has always been one of the my personal favourites on the LP. I remember watching a 'Making Of Illmatic' video on YouTube in recent times (now deleted unfortunately) where Tip described his vision for the beat as being on some 'ghetto monk type shit', and although this isn't exactly the most eloquent description of the song imaginable, it certainly captures something about the dark, atmospheric vibe of the track that feels fitting. One of Tip's greatest beats deconstructed: here we go.

What I really dig about the Abstract's production style is that he resists the temptation to chop up samples too heavily, thereby keeping the sound fluid and warm. 'One Love' is a case in point, with Tip jacking the first 23 seconds of the Heath Brothers' 'Smilin' Billy Suite Part II' from their 1975 release Marchin' On and doing very little with it beyond the addition of drums and volume changes as the sample is introduced. This introductory section really is masterful, with Mtume Heath's percussion part from the original source gradually building into the mix before its complete introduction after the initial eight bar sequence which brings with it the unveiling of double bass and piano tracks. From here on in there really are very few changes, the different musical elements of the track creating a mystical and hypnotic platform for Nas's musings that simply doesn't require too much fiddling around with. No extra loop at the chorus, no bridge section, only a handful of breakdowns: it's a veritable lesson in measured, instinctive and thoroughly considered hip hop production techniques.

For the drum track Tip turns to Clyde McPhatter's song 'Mixed Up Cup'. Now I'm gonna revoke the ghetto pass here and admit this is a pure internet find which I know very little about and which actually comes off a compilation made of songs that have at some stage been sampled by Tribe (distinctly un-hip hop I know). As a result this is just an excerpt that features the drum break used by Tip on 'One Love'; unfortunately that's all I have to offer you. From my brief research on McPhatter I can tell you that he was a part of the original line up of The Drifters in the early '50s on Atlantic Records, but broke with the group relatively quickly to pursue solo interests. The sounds of the drink being poured during the 'Mixed Up Cup' intro may have seemed harmless enough at the time, but with the knowledge of McPhatter's demise at the age of 39 due to heart, liver and kidney disease after decades of heavy drinking it carries saddening connotations of an addiction that ultimately took him to his grave. Little did he know that two seconds of his music would resonate so heavily amongst an urban subculture called hip hop nearly 25 years after their original commitment to wax: a legacy indeed.

For me there is little doubt that 'One Love' represents one of Tip's finest moments behind the boards, and just as with his contributions to The Infamous, it demonstrates his ability to switch up his production style when the opportunities presented themselves during the most successful and prolific period in his career. If you're still sleepin' on Q-Tip's production stature then let's strip it down to the bare essentials: the man posted a beat on Illmatic. Still need convincing?

The Praise Rolls Off My Lips - 'Jungle Music' Beat Deconstruction

Isaac Hayes - 'Monologue: Ike's Mood I / You've Lost That Lovin' Feeling'
taken from ...To Be Continued (Stax, 1970)

Jeru Tha Damaja - 'Jungle Music'
taken from The Sun Rises In The East (Payday/ffrr, 1994)

It doesn't take me to tell you that not only is Brooklyn's Jeru Tha Damaja the clear mic champion of the Gangstarr Foundation (that is until he fell out with Guru and DJ Premier), but also one of the most gifted and accomplished wordsmiths to ever grace this here culture called hip hop. Combining content and flow is the Achilles' heel of the majority of MCs, but Jeru glides through this conundrum with such ease that he puts the majority of other lyricists to shame. At his pinnacle, Kendrick Jeru Davis was able to effortlessly combine a top level delivery and distinctive vocal timbre with a wide variety of subject matter, from straight up braggin' rhymes to highly sophisticated urban narratives that dealt with the issues of the world in which he dwelled with such style that he remains for me one of hip hop's most talented and enduring figureheads. As a result I'm putting together a series of posts over the following week that will focus on his work taking in beats, rhymes and a couple of overlooked joints that have always found a place in my listening habits and increased the ferocity of the crick in my neck.

Although Livin' Proof is often held up as the seminal piece of production work from the mighty DJ Premier, I would have to say that beat for beat there really is little distinction to be made between it and The Sun Rises In The East, with the latter boasting a greater number of standouts, most notably 'Come Clean' and 'You Can't Stop The Prophet' (for the sake of this discussion let's not concern ourselves with a redundant comparison of the lyrical prowess, or lack thereof, displayed on each of these albums). One cut that has always seemed criminally underrated to me is 'Jungle Music', a slammin' piece of production work that finds itself nestled into the penultimate spot on the album after 'Come Clean' and before the considerably less aggressive closer 'Statik'.

Preem draws his inspiration from none other than Isaac Hayes in this instance, jacking piano and vibraphone from the somewhat ridiculously titled 'Monologue: Ike's Mood I / You've Lost That Lovin' Feelin'' from 1970's ...To Be Continued. Clocking in at just over fifteen minutes, this mini-symphony has been sampled on numerous occasions, but none so artfully as by Premier with 'Jungle Music'. The section of the composition to focus on comes right at the end of the song (just after the fourteen minute mark), where Hayes strips the groove down to piano, vibes and lightly skipping cymbal hits. As with his work on Group Home's 'Suspended In Time', this song really demonstrates Premier's keen ear for samples and masterful chopping ability, his reinterpretation moving far enough away from the original so as to make it barely recognisable.

There are certain touches to 'Jungle Music' itself that make it even more special. I love the opening of the track: the sounds of the jungle set the mood only to be broken by offbeat piano chords, the arrangement of which mean the initial snare hit takes the listener by surprise before the drop into the main groove. No Premier track would be complete without the much revered scratch chorus, and this is another fine example, featuring a line from the Jungle Brothers' classic 'Straight Out The Jungle' that slips into the mix perfectly. To top it all off Jeru comes at you with some of the most eloquent verses to be found anywhere on the album, detailing the transportation of his 'ancestors' drums...from pyramids to the ghetto' and the intrinsic power that they hold. The words 'drop' and 'science' feel particularly relevant here.

'Jungle Music' represents all that is great about The Sun Rises In The East, with a sensational beat and some dope rhymes that complement each other perfectly to create a little nugget of hip hop gold. Hold tight for more in the Jeru series over the coming week where in the next installment I'll be analysing/losing myself in one of the greatest narratives in the history of hip hop... can you guess what it is yet?

There Can Only Be One King - Sting & 'The Message'

Sting - 'Shape Of My Heart'
taken from Ten Summoner's Tales (A & M, 1993)

Nas - 'The Message'
taken from It Was Written (Columbia, 1996)

Engaging with the music of pop artists can be a dangerous game if you're into hip hop production. You only have to look at the David Bowie/Rod Stewart/Lisa Stansfield inspired dross created by Bad Boy towards the end of the '90s to know how awful these endeavors can be when in the wrong hands. Now Sting might seem like an odd source for some of that good ol' NYC rap, whose more obvious fanbase is likely to consist of fathers around the world who wear socks with their sandals and vehemently tuck their t-shirts into their jeans (don't tell anybody, but I'm actually kind of a closet fan), but with 'The Message', Poke & Tone manage to incorporate his work into one of the most outstanding platforms for Nas's street narratives on his sophomore effort It Was Written.

'Shape Of My Heart' is taken from Sting's fourth solo studio effort Ten Summoner's Tales, which incidentally sold over three million copies in the U.S. alone, and was actually one of the first albums that I ever bought with my own money (W H Smith vouchers actually). The album is so ingrained in my psyche that it makes it difficult for me to gain any sense of detachment from it, but I still have a soft spot for 'Shape Of My Heart'. The wistful guitar refrain and clean rim hits create a pensive atmosphere and Sting's vaguely mystical lyrics, which discuss the 'geometry of chance' and meeting men 'with too many faces' contribute effectively to this reflective vibe. Granted, the harmonica and strings get a little cheesy, and this isn't exactly gonna boost the status of my ghetto pass, but I like it. Blame the forces of nostalgia and overblown sentimentality.

I know Poke & Tone come under fire for their more commercial offerings, but they come correct on this song with the first two bars of 'Shape Of My Heart' working exceptionally well in their newfound context. The keys to the success of this beat are simplicity and savvy production skills: beyond the guitar loop, drum track and bassline there really isn't that much to this song, and yet it feels richly textured, full and warm. I believe the other instrument used at the beginning of the track and during the chorus sections are distorted strings which open out towards the end of the cut, and they add a necessary depth to an otherwise stripped down formula: at the chorus, alongside Kid Capri's Nas-sampling scratches, the result is certifiably dope. Despite little variation throughout the course of the groove, there are little touches that make it special, most notably the evenly spaced bass drum kicks and cymbal crashes that precede some of the key beat drops as well as intermittent placements throughout. Paired up with Nas's mafioso persona, with his lyrical references to rolling dice and 'twenty G bets', the resulting composition is for me the clear standout on the album, one of the only points on It Was Written that feels truly homogeneous.

Whatever you may feel about the Trakmasterz in general, there seems to me little ammunition for criticism of this particular song, and it remains one of only three or four cuts on the album that still really light my fire. Sting may be an unlikely musical partner to hip hop, but this song demonstrates that simply relying on a crate of dusty funk and soul 45s for your inspiration isn't always the answer to slammin' hip hop production. Consider yourself learned.

FDB Hits The Big Apple

Sting - 'Englishman In New York'
taken from Nothing Like The Sun (A & M, 1987)

Following on from the Sting theme above, I'm likely to be rocking this song out when myself and my lovely girlfriend head off for our summer holiday in NYC next week. Here's the deal: I know that the majority of my readership comes from the U.S., and that a lot of you reside on the east coast (and no, I haven't been obsessively pouring over my StatCounter data... much), so what I want are a few suggestions for places to go, and I don't mean the Empire State and all the obvious tourist shit like that, but rather hints from those with insider knowledge. So, if you know of any great record shops, clubs, bars, restaurants, trainer (yes, that's sneakers) shops, places of Hip Hopping significance or anything else of interest that would pass your average tourist doing the rounds in Manhattan by, then I would really appreciate a little information. I've actually been to New York a few times before, but always with family, so although I know the city relatively well, I've never really had the chance to take it on under my own steam. I'm particularly interested in any suggestions for Brooklyn, a suburb which I've only scratched the surface of in the past. Any information would be greatly appreciated: thanks in advance.

Out Of My Way Baby - 'Get Out My Life' Sample

Joe Williams - 'Get Out My Life'
taken from Presenting Joe Williams with Thad Jones & The Mel Lewis Jazz Orchestra (Solid State, 1966)

Kool G Rap & DJ Polo - 'Ill Street Blues'
taken from Live And Let Die (Cold Chillin', 1992)

Biz Markie - 'Funk Is Back'
taken from All Samples Cleared! (Cold Chillin', 1993)

Main Source - 'How My Man Went Down In The Game'
taken from Breaking Atoms Japanese Reissue (Wild Pitch, 1997)

In writing about Joe Williams's take on 'Get Out My Life', I am not just dealing with a quality break that has provided inspiration for the songs here, but in fact scratching the surface of a particular song that in its various incarnations has provided musical elements to a substantial number of rap songs over a period of close to two decades. I believe that the often covered 'Get Out Of My Life, Woman' was originally composed by New Orleans producer Allen Toussaint, but perhaps the most notable version is that recorded by Lee Dorsey in 1966, as the opening two bars comprise one of the most repeatedly mined drum breaks in the history of hip hop. Such is the magnitude of this particular song that it could probably form the basis of a crate digging thesis, and I have neither the knowledge nor time to do it the justice it deserves here at FDB. Suffice to say, 'Get Out My Life, Woman' in its various forms has made a massive contribution to hip hop and is without question one of the most influential songs on the culture as a whole: let us rejoice.

Although it is largely the drums that have seen the sample treatment when it comes to 'Get Out My Life, Woman', Joe William's version puts forward one of the most catchy and instantly recognisable piano loops in the history of hip hop. Whilst Williams handles the vocals, the musical backdrop is provided by Mel Lewis and Thad Jones's jazz orchestra who create a booming wall of sound that make this song exceptional. Screaming horns begin the song triumphantly before dropping into the familiar break made up of drums, piano, double bass and the occasional horn stab that has become revered by hip hop heads since its inception into a host of rap songs that have made an impression on the game.

The three songs presented here represent less than a quarter of the instances in which this sample has been used, but they are my favourite cuts that have done so. 'Ill Street Blues' is certified classic material, one of many choice moments on Kool G Rap and Polo's 'Live & Let Die' LP which will hopefully see the reissue treatment at some point soon in light of other Cold Chillin' material being resurrected and hauled over with the deluxe treatment (bring it).

G Rap kickin' it live in '93:



'How My Man Went Down In The Game' is not only a slammin' beat, but also one of the most complete and enjoyable Large Pro vocal performances ever, a cautionary tale regarding letting the woman in your life take control and the consequences if you let them do so, delivered with style and real flava. The spot for third place was highly contested with Funkdoobiest and Double XX Posse (whose 'Ruffneck' also jacks the drums from Lee Dorsey's version of the song) also acting as strong contenders, but the Biz won out in the end just because... well, he's the Biz. At a time when hip hop so often tends to take itself so seriously, you can't help but have a soft spot for one of the most charismatic, hilarious and damned right stupid brothers to ever grab a mic, and for this reason if nothing else, he gives the competition a beatdown and sneaks in to claim bronze.

There's a hell of a lot of diggin' to do once you realise the extent to which this song has been used over the years, and I suggest you check into The Breaks just briefly to get some idea of this song's influence in hip hop. The added bonus here is that Joe Williams's version is wonderful in itself, a beautifully soul-tinged jazz number that I've been rockin' all weekend, the result being a Cheshire Cat style smile having taken permanent residence on my face. I'll be nursing the lockjaw for a few days to come: you have been warned.

Guitar Licks Ahoy! Face It Boy, It's Over

George Benson - Face It Boy, It's Over
taken from Shape Of Things To Come (A & M, 1969)

DJ Jazzy Jeff - For Da Love Of Da Game feat. Baby Blak & Pauly Yamz
taken from The Magnificent (Rapster, 2002)

Abstract Tribe Unique - Switch The Station
taken from Mood Pieces (Massmen, 1998)

Brand Nubian - Step Into Da Cipher
taken from Everything Is Everything (Elektra/Wea, 1994)

Ed O.G. & Da Bulldogs - Love Comes And Goes
taken from Roxbury 02119 (Polygram, 1994)

Pete Rock & C.L. Smooth - I Get Physical & In The Flesh
taken from The Main Ingredient (Elektra/Wea, 1994)

Apologies for the lack of posts this week people, work has been beating my arse like you wouldn't believe. This post has been in the pipeline since Wednesday, and although it's been frustrating lacking the time/energy to update FDB, in some ways I'm glad that I'm covering George Benson's 'Face It Boy, It's Over' today rather than earlier in the week. You see, the weather in the UK has been diabolical for almost a month now, and yet as I write the sun is shining and summer is definitely in the air. The lazy, sun-soaked afternoon feel of this sample felt at odds with the climate here on Wednesday, but not today: it's like it was meant to be.

This particular track has been mined on several occasions, and it's easy to see why. Although I'm not sure how much I actually like this track itself (it verges precariously on the corny), there is little doubt that Benson understands how to craft a catchy guitar lick and create a mood that allows the listener to lose themselves in memories of sunny days from the past with 'Face It Boy It's Over'. The section to focus on comes after the initial eight bar introduction, the subsequent six providing the inspiration for no less than four of the tracks listed above. If you are familiar with 'Love Comes And Goes', 'For Da Love Of Da Game' and 'I Get Physical' then listening to this section is almost somewhat unnerving, as you jump immediately from one lick to the next, leaving you little time to soak up the sample before being thrown into another field of musical association. The Abstract Tribe Unique joint also finds its inspiration here, utilising bars two and three of this section and applying some filters to distort the sound.

Other sections of Benson's composition bear fruits as well. On 'Step Into Da Cipher', Lord Jamar and Sadat X combine their production talents and select two separate licks and splice them together, the first at 2.24 and then the two notes at a higher pitch are lifted from the 2.31 mark. I think it works particularly well, and despite reservations about 'Everything Is Everything' as a whole, this cut shines with its heavy drum track and Benson's melody laid over over the top. Finally, Pete Rock plumbs the depths of the track for a second time on 'In The Flesh', chopping up a sample that appears later on in 'Face It Boy, It's Over' (3.05 onwards). I think that this is actually one of the less inspiring songs on 'The Main Ingredient', but needless to say, I still think it's great (you're not gonna get a bad word out of me when it comes to the Chocolate Boy Wonder).

The fact that Benson's composition has spawned a number of certified classics is reason enough to give it some of your precious listening time, and apart from the Abstract Tribe Unique track, I would argue that this is one of the strongest selections of songs from a singular source since I have been putting posts like these together. The bright, uplifting guitar licks work exceptionally well in their newfound contexts, providing a contrast with the grittier percussive elements of the majority of the tracks here. Crack open a brew, take a seat in your garden and let 'Face It Boy, It's Over' and streaming rays of sunshine wash over you: the summer is here.

Links to check out:

George Benson @ Wikipedia
Official website

If You Didn't Know Before... Look Of Love Sample

Johnny Pate - The Look Of Love (MCA, 1969)

Showbiz & A.G. - You Know Now (Remix)
Big L - M.V.P. (Remix)
both taken from Diggin' In The Crates: Rare Studio Masters '93 - '97 (Ground Floor, 2007)

Heltah Skeltah - Letha Brainz Blo
taken from Nocturnal (Priority, 1996)

April - Love What I Feel
taken from Bring Da Ruckus: A Loud Story (Loud, 1997)

Pete Rock & C.L. Smooth - Searching (Remix)
taken from Rare Tracks (Wea International, 1998)

I'm serving up more sample spotting goodness today in the shape of Johnny Pate's 1969 cover of Burt Bacharach's song 'The Look Of Love' (shouts to Jay on the hook up). As you can see from the above, this has been used a fair few times by a range of hip hop producers, and with good reason: it's a wonderfully atmospheric two bar loop that seems custom built for the addition of some thumping kicks and slammin' snares. The break is composed of several key elements, all of which find their way into the compositions above. Pizzicato notes on the violin ascend in the first bar until the shimmering tremolo in the second, and this is supported by bass and regularly-spaced rim hits (I think I can also pick out some vibes in the mix as well). Its constituent parts work together to produce a rich sonic texture, and the upshot is that all five of the tracks that use it are remarkably similar: no need for chopping and rearranging here, as the break itself is perfect as it is.

April's 'Love What I Feel' was actually the first of these tracks that I came across, when as a spotty fifteen year old I got a hold of the Loud compilation that brought together some of their most successful cuts from the five years that preceded its release. It remains a nice track, although those of you who wince at the combination of hip hop beats and R 'n' B vocals should steer well clear. In the liner notes it states that this cut was produced by Shake City Productions but also acknowledges elements from Big L's 'M.V.P.', which seems a strange way of phrasing it, as there is little doubt in my mind that this is exactly the same beat produced by Buckwild for the remix of 'M.V.P.' albeit with a slight step up in pitch and tempo. Similarly, the beat for Show & A.G.'s 'You Know Now (Remix)' is also near identical and is produced by the D.I.T.C. legend: the man got a hell of a lot of mileage out of this one.

Elsewhere, Baby Paul does a nice job with the sample on Heltah Skeltah's 'Letha Brainz Blo', letting the slightly filtered loop talk for itself and teaming it up with satisfyingly weighty kicks and resonating snare hits, allowing Rock and Ruck to shine in the way that they did so consistently on their debut LP. Finally, the Soul Brother has a contribution to make with the remix of 'Searching', the original of which was one of many highlights from 'The Main Ingredient'. I think I still prefer the cut in its original incarnation, but this is a welcome addition to Pete Rock's remix catalogue which continues to amaze me with its breadth and astounding level of quality.

As with Schifrin's 'Danube Incident', it is striking how much these songs rely on the mood created by their inspiration to succeed. The deeper I get into discovering sample sources, the more appreciation I have for music from days gone by and understand how important these largely forgotten artists have been to hip hop culture (stating the obvious I know). Production-wise it is difficult to draw any particular distinction between these songs, and this is an attestation of the caliber of Pate's arrangement in the first place. There's not much information out there on this song or a great deal about Pate himself, but make the effort and you can find nuggets of information here and there that build a picture of an artist who has quietly placed himself in the chronicles of music history. One great sample, five great tracks: you do the math.

Links to check out:

Johnny Pate @ Wikipedia
Johnny Pate profile
Johnny Pate biography

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

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