Showing posts with label beats. Show all posts
Showing posts with label beats. Show all posts

08/05/2013

One Love for Preemo


By Ru1

For almost a quarter of a century DJ Premier has been at the forefront of the production game and that is no understatement.  Despite being widely venerated across the generational divide, we at the Rap Buzz have heard numerous comments from hip hop literati that Preemo’s been resting on his laurels over the last few years. It has even been said that his beats are so formulaic they’ve become predictable. Everyone is entitled to their opinion and in no way are we saying that pioneers should escape criticism, but seriously?!  

The Rap Buzz has nothing but love for Mean Joe Preem and we couldn’t be happier to post three bangers he’s produced this year. The man is no doubt in a rich vein of form and clearly knows no bounds.  Bring on the collabos with Immortal Technique, Nas, AZ et al – all scheduled for 2013 releases!

Salute!

Papoose -  Turn It Up



Big Daddy Kane – 28 Bars of Kane



Ill Bill – World Premier


09/05/2010

Just Blaze vs The Alchemist - The Sound Clash Live @ East Village, London 06.05.10


The shock of Guru's death put us out of action for sometime, while we re-played every Gang Starr and Guru track that we own (there's many of them). Attending The Sound Clash was therefore a great reminder of all the kick ass talent still alive in hip hop; it took away the sadness we felt after the death of a hip hop icon and brought back the energy (for real, with some of the boomiest bass lines we have ever heard vibrating our rib cages) that drives this culture forward.

It may have been a coincidence that just as we walked in, one of the supporting acts (Spin Doctor, Mr. Thing, Chris P Cuts & Dj Snips) was playing 'Above the Clouds', and damn it sounded good and felt good to see everyone on the dancefloor applauding the choice.

Shortly after, the show began (pics here, thanks Doctor's Orders). Alchemist and Just Blaze took up their positions behind the decks and ignited the crowd with all of their top productions. The beatmakers alternated their bangers in a format, that as beatmakers ourselves, we absolutely love: the original sampled track first, with the beat dropping in after. This creates a beautiful build up, as the crowd immediately recognises the sample and anticipates the drop of the beat, skillfully chopped and skrewed by the beatmaker. No fear here of copyright infringement or unsolicited sample calling, just pure appreciation of the talent of the hip hop beatmaker.

All of this was made even cooler by improvised cuts and scratches by the two, with the highlight probably being Just Blaze beat juggling Rick James's 'Super Freak' and then dropping 'Kingdom Come'.

As the set heated up though, it unfortunately became clear that the venue chosen wasn't ideal for a battle event. Unless you were one of the early arrivers sweating it in the first two rows, seeing the beatmakers in action was near impossible, therefore turning a battle event into what resembled a club night (where seeing the deejay doesn't really matter). A venue with an elevated stage would've made more sense, since a core part of the show was the live entertainment provided by Jus and Al on the mic.

The set lasted for two hours, and while the energy released during the night was unmeasurable, we were surprised not to see (or hear) more of a 'battle' going on between the two. We had read that the same set in the US featured some on the spot improv with the beatmakers responding to each other's beats in clever ways. The London event felt more like a joint deejay set than a battle, still cool, but not really a 'clash'...

And as pointed out by many reviewers, the set really brought to life the difference in styles between the two. Just Blaze is a hip hop hit maker, driving the crowd wild with practically every track he dropped; his beats have a bouncy feel and intricate rhythm patterns that you can't help moving to. Alchemist is instead more of a story teller, cooking up emotional soulful and dark samples into exciting soundbeds; not party tracks but intelligent boom bap bangers. It was therefore not surprising to see a stark difference in the crowd's reaction to the two beatmakers; people recognised and sang Alchemist soul vocal samples, but they broke into wild dancing when Just Blaze spun yet another hit. Not necessarily a bad thing, but in what was supposed to be a 'battle' it kind of automatically favoured one beatmaker over the other based on 'hit count' and not really talent.

The set finished with the instrumental version of Exhibit C at 2 am (great finale track by the way) and we happily exited the club, ears ringing and satisfied at having had yet another session of real head nod hip hop.

But, while outside lighting up a well deserved post club cigarette, to everyone's surprise, Alchemist walked out to hang out. Cool, unpretentious friendly dude, he had his picture taken with everyone (including us) before walking off into the Shoreditch streets with his black back pack. Guess it really is true, 'our boy Al, everybody's pal'

...and to wrap it up in his own words from Twitter:

London has been blessed. I never knew Just Blaze / ALC beats could create such a pungent body aroma ! Salute!
AlanTheChemist

Look forward to more people...

TheRapBuzz.com in house trade union activist Ru1 posing with Al, happy days

21/11/2009

Rakim works with Bassi Maestro on track from "The Seventh Seal"


We couldn't believe our eyes when we saw an Italian producer/emcee, Bassi Maestro, being credited for producing "Working for You" on Rakim's new album, "The Seventh Seal"...a chance for Italian hip hop to be launched to the heights of worldwide fame and respect...and at the same time a huge honour, crafting a beat for one of the best emcees ever.

But it was all more complicated than that, as we learned by reading Bassi Maestro's blog. Apparently the beat was on a cd left by Bassi Maestro in NY, it travelled far from hand to hand and eventually ended infront of Rakim. Loving the beat but not knowing who the producer was, Rakim decided to use it anyways and leave the credits blank on the album.

Of course, Bassi Maestro found out. Unsurprisingly. The Seventh Seal being such a high profile release made it highly unlikely for the beat to remain creditless for long. What ensued was a an explosion of debates online on various forums and blogs, and the ultimate move by most sites and Wikipedia to give Bassi Maestro his fair credit.

This is a complex one, and affects all beatmakers who give away their beats for free online or to emcees on cds. There is a lot of "heat" around the subject on Italian and American forums, both interestingly arguing opposite views ("Americans are thieves! vs Italians stop whining!"). However in our view, these are the really important things to keep in mind about this story:

1. Moral obligations
- None of us know what really happened, if we however take the above version of the story to be the truth, a creditless beat shouldn't be used on an album. Not for the royalties, but for the simple reason that credit should be given where credit is due.

2. Protect yourself
- Yes, easily said now, but this is vital. Performing rights association protection is the legal way to do it, otherwise tagging beats is a valid practical alternative. Of course, in the excitement of promoting your beats the last thing that comes to mind is that Rakim may end up using them without giving you credit, but that's the way the world turns and the unlikeliest of things can happen.

3. But actually, it's not that bad
- Unfair, irritating, enraging, sad...yes...but once the dust settles and you get over these emotions you start looking at the bigger picture. Italian hip hop is now at the forefront of the global scene and Bassi Maestro is at the heart of it. Stealing and/or imitation is the biggest form of flattery, the beat must have therefore been truly irresistible for a hip hop veteran such as Rakim to use it on his album. Is that not a huge compliment and boost? And also, Bassi Maestro is most definitely on his way now to many more high profile international hip hop projects with some of the best artists in the world thanks to this mishap...the future is bright for him and Italian hip hop.

So in conclusion, lets take a positive look at things. Rakim will no doubt appreciate he made a mistake (we seriously hope so...) , the credit will be officially given to Bassi Maestro and this will hopefully lead to many new and wonderful international collabos. Not sure if any money will ever exchange hands for this beat, but wouldn't any up and coming producer be happy to let one of the best lyricists ever flow for free over his instrumentals? Not for cash, but just for the love of hip hop?

Rakim is not going to make millions from his album, it's an underground release, so lets just hope that both parties reach an amicable artistic agreement; and that this is just the beginning of a series of great things to come.

PS
Could not resist mentioning this...but is it not ironic that this has caused such a stir in the world of a musical genre that strives on "borrowing" (aka sampling) other people's music, often without giving the original artist any credit...? What if the artist sampled by Bassi Maestro on the beat steps up and demands royalties?? Now that would be a tricky one...

--

Below are the two versions of the beat, Bassi Maestro's original from 2004 and Working from You by Rakim from 2009







23/12/2008

Best Beats of 2008 - Girls Around The World (Lloyd produced by Big Reese & Jasper)


Lloyd has impressed me with his latest album. I was ready to write him off as just another young Usher/Omarion/Chris Brown clone, but he’s really stepped up to use a whole different flavour on his new album. Better yet, he’s managed to come up with one track that will keep everyone happy.

How could you go wrong with a deadly combination of Mr ‘Of Course I’ll Spit on Your Track’ Lil Wayne, Lloyd himself and a track using Rakim and Eric B’s Paid in Full as a sample. With that instantly recognisable repetitive beat in the background, combined with fitting high-notes vocals from Lloyd, ‘Girls Around the World’ has what it takes to be a long lasting hit. It’s even been released with a superb Hype Williams directed video; so finally the ignorant ones can perhaps learn a little something about the past whilst jiving to the present.

What more can I say? Big Reese & Jasper have such a wealth of experience, and using Rakim as a sample was a sure way to get everyone on their old school tip into Lloyd’s new single, but was still relevant enough not to alienate his regular fan base. Amazing.


Best Beats of 2008 - Angel (The Game feat. Common produced by Kanye West)


I don’t care what people say, L.A.X was a dope album and was blessed with some awesome production to boot. However one track simply shone through and deserved to be held on a totally different (and higher) pedal stool than the rest of the album. Fast-forward to Angel and you’ll see what I mean.

Surely eyebrows must have been raised when chronic name-dropper Game recruited conscious Common to assist him on a track, but with one of Kanye’s finest efforts behind the boards, the end result has been spectacular. Mr. West has dropped a bomb that allows Common to use his laid-back soulful flow, but pumps enough bass and synthesizer to keep the West Coast faithful at bay. And that’s what makes this track so spectacular. Not only is it a top quality effort, I could imagine it fitting so many other artists due to its super wide appeal.

I am still struggling to comprehend why this hasn’t been released as an official single yet, because it’s got what it takes to be something very special. Unfortunately, in the days where we seem to always look for something to bump in a club, Angel will no doubt get overlooked by the mainstream and baby-fans. A hidden gem.

Below, for your listening pleasure...


20/12/2008

Best Beats of 2008 - That White (Fat Joe produced by Dj Premier)


You know what? It doesn’t even matter who spits on this. It doesn’t matter what it’s called, or what album it’s featured on. For all I care, this could be a bonus track on a Flo-rida album and it would still send the same shiver down my spine. Damn Premo, you’ve done it again!

Fat Joe’s album was actually pretty decent, seeing as he was getting shitted on by 50 at the time (who made a whole mixtape against him), whilst being heavily criticized for trying to hard to fit the Southern niche, and leaving his New York following behind. Elephant in the Room was blessed with some decent performances, that allowed us to see the old Joe; there were also some tunes that made us think maybe it’s time he put up the mic... 

DJ Premier has managed to use his infamous sample laced over an ‘oh so easy to flow too’ beat, leaving the foundations for any half-decent rapper to spit his game. Seriously speaking, I reckon even the most tired rappers would be inspired if they were given 10 Premo tracks to make an album out of.

So this is just fire! It’s hard not to bop your head to this, I can’t believe “I Won’t Tell” got a video and this didn’t, definitely something that will make most Joey fans go WTF!? Stop chasing radio spins Mr. Crack and stick to what you do best!

Track below...

17/12/2008

Best Beats of 2008 - Universal Mind Control (Common produced by Neptunes)


Is it just me or do the Neptunes seem to get overlooked these days, despite constantly producing bangers? 

Common’s album, Universal Mind Control had a strange mix of club-ready tracks blended with Common’s familiar territory of conscious and deep cuts. Personally, the title single did it for me. Yes, Common sounds out of place on this up-tempo beat. Yes, Common could not do it justice. And yes, it no doubt alienated the hard-core Common faithful who would have raised their eyebrows when hearing this. But nevertheless, flaws aside, Universal Mind Control is a track you could love even with Tony Yayo in the booth. Clearly inspired by Afrika Bombaataa’s “Planet Rock”, the track is bouncy and you’d be hard pressed not to stop moving some part of your body when listening to this. 

Neptunes absolutely smashed it with this, but unfortunately it got into the hands of the wrong MC. It’s not that Common sounds bad, it’s just he couldn’t do it justice. I reckon this is one of those pieces that the Neptunes should’ve kept for someone else, or better yet, used it for themselves. A banger that’s been kept alive thanks to its club appeal, but you get the feeling it would have been so much bigger with someone slightly more energetic...

Check it out below


Best Beats of 2008 - A Milli (Lil'Wayne produced by Bangladesh)

Image Credit

2008 has been a challenging year, but no matter what, the hip hop world keeps bringing out non stop banging beats for us all.

We love that, and that's why our friend KNL has looked at the best beats to have blessed our stereo speakers in 2008...ready for the ride?


A Milli - Lil'Wayne produced by Bangladesh

Hate it or love it, you couldn’t escape hearing this shit. Sampled from a little known Vampire Mix of a Tribe track called “I Left My Wallet in El Segundo”, Bangladesh hit the jackpot with a repetitive, screwed-up voice laced on a bass-heavy beat, readymade for any rapper to turn into a hit. Almost a shame that Lil Wayne had to get his child-glove sized fingers on it first…

Bangladesh got his big break in 2000 with the massive hit single ‘What’s Your Fantasy” by Ludacris. Since then, we’ve seen him produce tracks for Kelis, Petey Pablo, 8Ball & MJG and Fabulous. But Bangladesh undoubtedly caused the biggest buzz of his career when he passed on the now legendary ‘A Milli’ beat to the man of the moment Lil Wayne this year, gracing him with an incredibly popular club hit and arguably the most buzzing track of the year.

What’s followed is arguably one of the craziest bandwagon frenzies we’ve ever seen, with Jay-Z, Cassidy, Jadakiss, Corey Guns, Lil Mama, LL, Gillie Da Kid, Cyserro and even Chris Brown and Ne-Yo jumping on Bangladesh’s finest. Ne-Yo took it one step further by releasing it as an official single with a video. I haven’t seen people get so excited over one instrumental since Busta dropped ‘Touch It’!

Check it out below...


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