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Here it is, this month's Five On It: the most necessary breaks of the past month distilled for maximum usability / listenability. This month had some burning hot cuts and also had some big tracks from our James Brown week. Check out what we've got for you.UGK's 'Hard to Swallow' review was full of classic breaks, two of which we'll highlight this month. Bill Withers' 'Still Bill' is a classic album and no cut is more useful for slo-mo tracks than the hit 'Use Me'. Also, other 'Superfly album cuts have been previously featured as Five On It picks, but this month highlights the single 'Freddie's Dead' for its usefulness to producers. James Brown week featured a look at James Brown's 1974 album 'Hell' and featured the big cut 'My Thang', which may not be the first break one would pick from J.B.'s archive, but is a heavy one. Also featured during our look at James Brown was Myra Barnes' 'Message from the Soul Sisters' when we looked at the numerous songs that sampled that break. Finally, during our look at Ice Cube's 'AmeriKKKa's Most Wanted', we mentioned Funkadelic's heavy 'Standing on the Verge of Getting It On' from the album of the same title. It's no secret that P-Funk samples make up a large part of West Coast hip-hop history, and this song is no exception.The Lowdown:
Bill Withers 'Use Me'
from 'Still Bill' (1972)(MP3/Import CD)
Curtis Mayfield 'Freddie's Dead'
from 'Superfly' (1972) (MP3/CD)
James Brown 'My Thang'
from 'Hell' (1974) (MP3/CD)
Myra Barnes 'Message from the Soul Sisters'
from 'Message from the Soul Sisters' 7" (1970) (MP3 not available/CD not available)
Funkadelic 'Standing on the Verge of Getting It On'
from 'Standing on the Verge of Getting It On' (1974) (MP3/CD)Bonus Cuts:
Bill Withers' 'Use Me' intro drums have always been a popular sampling source, but that shouldn't take away from the impact of the song itself, which was covered many times by great artists. Esther Phillips delivered a version of 'Use Me' as did Isaac Hayes who played a live version of 'Use Me' at the Sahara Tahoe. In 1981, Grace Jones had a spooky version of 'Use Me' as only Grace Jones could. The original was recently sampled by Kanye West for Nas' track 'Still Dreaming'.
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Welcome to the second part of our look at Kanye West's second album 'Late Registration'.
To me, one of the best sample flipped on 'Late Registration' is that of Gil Scott-Heron's forever chilling junkie dirge 'Home is Where the Hatred Is' used for Kanye and Common's 'My Way Home'. West's track leaves much of the sample intact, but the original track is still necessary for complete music collections. Nas makes an appearance on Kanye West's 'We Major' produced by West, Jon Brion, and Warryn Campbell. The song uses samples from Stevie Wonder's 'Superwoman (Where Were You When I Needed You)' from his 1972 album 'Music of My Mind'. Kanye, Cam'ron, and Consequence rhyme over portions of Otis Redding's 'It's Too Late' on the late album track 'Gone'. Finally, the lead single 'Diamonds from Sierra Leone' produced by Kanye, Brion, and Devo Springfield flips Shirley Bassey's theme to 'Diamonds are Forever' from the James Bond film soundtrack of the same name.
'Late Registration' was more successful than its predecessor, 'College Dropout', but both were later eclipsed (in terms of sales) by Kanye West's third album 'Graduation' (which was previously reviewed on this blog).The Lowdown:
Kanye West 'My Way Home', 'We Major', 'Gone', and 'Diamonds from Sierra Leone'
from 'Late Registration' (2005) (MP3/CD)
Clean Edits: 'My Way Home', 'We Major', 'Gone', and 'Diamonds from Sierra Leone'
Gil Scott-Heron 'Home is Where the Hatred Is'
from 'Pieces of a Man' (1970) (MP3/CD)
Stevie Wonder 'Superwoman (Where Were You When I Needed You)'
from 'Music of My Mind' (1972) (MP3/CD)
Otis Redding 'It's Too Late'
from 'The Great Otis Redding Sings Soul Ballads' (1965) (MP3/CD)
Shirley Bassey 'Diamonds are Forever'
from 'Diamonds are Forever OST' (1972) (MP3/CD)
Related Posts:
Kanye West 'Graduation' (Part 1)
Kanye West 'Graduation' (Part 2)
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In the period of 1971 to 1974, James Brown had 25 top 100 charting singles and released 9 full length albums, all while extensively touring the country. Among some of his career defining releases is the soundtrack to 1973's 'Black Caesar', which was a nod to the film Little Caesar and not a nod to the 16th century pirate called Black Casear. The film helped launch former-football star Fred Williamson's career and also gave hip-hop some of its best ammunition. This two part blog arc will cover the contribution of 'Black Caesar''s samples to hip-hop.
The album's excellent opening track 'Down and Out in New York City' was Black Caesar's lone single. DJ Premier used it as the backing for Rakim's 'New York (Ya Out There)' from his 1997 solo album 'The 18th Letter'. James Brown's 'Blind Man Can See It' was used in 1990 by Diamond D for Lord Finesse's hip-hop landmark 'Funky Technician'. Two years later, Das EFX used the same song for their YO MTV Raps! staple 'They Want EFX'.
One of 'Black Caesar''s highlights, both on the soundtrack and in the film, is 'The Boss' - an overlooked classic in James' catalog. The beat is not overlooked in the world of hip-hop though: Ice-T used 'The Boss' for his 1989 track 'You Played Yourself'. In 2002, Salaam Remi produced Nas' 'Get Down', a hit from Nas' album 'God's Son' due to its throwback appeal.
Check back for part two of our look at 'Black Caesar'.The Lowdown:
James Brown 'Down and Out in New York City', 'Blind Man Can See It', and 'The Boss'
from 'Black Caesar' (1973) (MP3/CD)
Rakim 'New York (Ya Out There)'
from 'The 18th Letter' (1997) (MP3/CD)
Lord Finesse and DJ Mike Smooth 'Funky Technician'
from 'Funky Technician' (1990) (MP3/CD)
Das EFX 'They Want EFX'
from 'Dead Serious' (1992) (MP3 not available/CD)
Ice-T 'You Played Yourself'
from 'The Iceberg' (1989) (MP3/CD)
Nas 'Get Down'
from 'God's Son' (2002) (MP3/CD)
Welcome to the second of our two part look at the Incredible Bongo Band's 'Apache'.
By the early 90s, 'Apache' was adapted into the genre of drum n' bass. Two landmark uses of the 'Apache' break in drum n' bass tracks is the 20-minute title track of Goldie's 1995 debut album 'Timeless' and the Metalheadz single 'Your Sound' by J Majik. 'Apache' became a widely used sample in the late 90s big beat style that became popular on both sides of the Atlantic. In 1997, Mantronix producer Kurtis Mantronik remixed Future Sound of London's single 'We Have Explosive' using the 'Apache' with devastating results.In 2002, Salaam Remi flipped 'Apache' for Nas' single 'Made You Look', making the beat sound radically different than previous hip-hop tracks. Three years later, Missy Elliott used the sample on her single 'We Run This' from 'The Cookbook'.
Despite its potential for oversaturation, 'Apache' still sounds as fresh today as it did over three decades ago. The sample will no doubt be the basis for many outstanding hip-hop and dance songs to come.The Lowdown:
Incredible Bongo Band 'Apache'
from 'Bongo Rock' (1973) (MP3/CD)
Goldie 'Timeless'
from 'Timeless' (1995) (MP3/CD)
J Majik 'Your Sound'
from 'Your Sound 12"' (1995) (MP3 not available/CD not available)
Future Sound of London 'We Have Explosive' (Mantronik Remix #1)
from 'We Have Explosive' (1997) (MP3/CD not available)
Nas 'Made You Look'
from 'God's Son' (2002) (MP3/CD)
Clean Edit: 'Made You Look'
Missy Elliott 'We Run This'
from 'The Cookbook' (2005) (MP3/CD)
Clean Edit: 'We Run This'
Following the success of Main Source's debut album 'Breaking Atoms', Large Professor's production work became sought after and, although there would be long breaks in his work, he'd go on to produce some stunning tracks.
In 1993, he contributed the beat for 'Keep it Rollin'' on A Tribe Called Quest's album 'Midnight Marauders'. The beat is pinned by a sample of Roy Ayer's Ubiquity era track 'Feel Like Making Love' from his 1974 album 'Change Up the Groove'. Large Professor's next high profile work would come on the debut of Nas, who made his debut appearance on 'Breaking Atoms'. Large Professor produced three of 'Illmatic''s tracks including the single 'It Ain't Hard to Tell'. The track contains a drum sample from Kool and the Gang's 'N.T.' and also contains a clever sample of Michael Jackson's 'Thriller' album cut 'Human Nature'.Through 1995 and 1996, Large Pro worked on his solo album titled 'The LP', but it was shelved in 1996 (it was later released as a promo in 2002). This major label limbo led to a brief dead spot in his career with scant production for Common, Organized Konfusion, and a handful of underground acts until the turn of the century. One of those production credits is for X-Ecutioners DJ Rob Swift who tapped Large Professor for his 1999 single 'Dope on Plastic'. 'Dope on Plastic' incorporates samples from Quincy Jones' 'Ironside' and a huge beat from Grand Funk Railroad's surprisingly huge 'Nothings the Same' from 1969's 'Closer to Home'.
Check back for part 3 of Large Professor's producer profile where we'll cover his production credits from after the year 2000.The Lowdown:
A Tribe Called Quest 'Keep it Rollin''
from 'Midnight Marauders' (1993) (MP3/CD)
Roy Ayers Ubiquity 'Feel Like Making Love'
from 'Change Up the Groove' (1974) (MP3 not available/CD)
Nas 'It Ain't Hard to Tell'
from 'Illmatic' (1994) (MP3/CD)
Clean Edit: 'It Ain't Hard to Tell'
Kool and the Gang 'N.T.'
from 'Live at PJ's' (1971) (MP3/CD not available)
Michael Jackson 'Human Nature'
from 'Thriller' (1982) (MP3/CD)
Rob Swift 'Dope on Plastic'
from 'Dope on Plastic' (1999) (MP3/CD not available)
Quincy Jones 'Ironside'
from 'Smackwater Jack' (1970) (MP3/Import CD)
Grand Funk Railroad 'Nothings the Same'
from 'Closer to Home' (1969) (MP3/CD)BONUS CUTS:
Get your remix on: Rob Swift's 'Dope on Plastic' (Instrumental) and 'Dope on Plastic' (Acapella).
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Kanye West's commercial breakthrough as a producer came in 2001 when he contributed a number of tracks and charting singles to Jay-Z's 'The Blueprint', often cited a sea change in Jay-Z's career thanks, in part, to the sound of West and Just Blaze. 'The Blueprint' will be covered in depth in a future post of this blog, so I will only cover one of Kanye's beats: the excellent 'Heart of the City (Ain't No Love)' which samples generously from Bobby Bland's 'Ain't No Love in the Heart of the City' from his 1973 album 'Dreamer'. Although he produced stellar singles for Jay-Z, his stock was set to rise even more in 2002.
Talib Kweli's 'Get By' was inescapable in 2002, thanks to Kanye's swift edit of Nina Simone's 'Sinnerman' from her album 'Pastel Blues'. The single, laced with then newcomer / future Kanye collaborator John Legend's background vocals, was a new high water mark for both West and Kweli and the track is arguably Talib Kweli's career defining moment to date. 2002 also saw the release of some of his production work for Scarface for his 2002 album 'The Fix'. Kanye samples 'Sunrise' by the Originals for Scarface's single 'Guess Who's Back' with guest appearances from Jay-Z and Beanie Sigel. In 2002, Nas' 'The Lost Tapes' album saw release, which included one of Kanye West's ghost productions for Deric 'D-Dot' Angelettie. 'Poppa Was a Playa' from 'The Lost Tapes' contains a sample of 'The Newness is Gone' by Eddie Kendricks from his album 'Goin' Up in Smoke'.
Check back for the next look at Kanye's production output and also be on the lookout for future posts covering his albums.The Lowdown:
Jay-Z 'Heart of the City (Ain't No Love)'
from 'The Blueprint' (2001) (MP3/CD)
Clean Edit:'Heart of the City (Ain't No Love)'
Bobby Bland 'Ain't No Love in the Heart of the City'
from 'Dreamer' (1973) (MP3/Import CD)
Talib Kweli 'Get By'
from 'Quality' (2002) (MP3 not available/CD)
Nina Simone 'Sinnerman'
from 'Pastel Blues' (1965) (MP3/CD)
Scarface 'Guess Who's Back'
from 'The Fix' (2002) (MP3/CD)
Clean Edit:'Guess Who's Back'
The Originals 'Sunrise'
from 'Down to Love Town' (1977) (MP3 not available/CD not available)
Nas 'Poppa Was a Playa'
from 'The Lost Tapes' (2002) (MP3/CD)
Clean Edit:'Poppa Was a Playa'
Eddie Kendricks 'The Newness is Gone'
from 'Goin' Up in Smoke' (1976) (MP3 not available/CD not available)
BONUS CUTS:
Nina Simone's 'Sinnerman' was a popular track to cover by reggae artists (like many soul singles from the United States). Peter Tosh delivers a classic cover with the slightly rewritten 'Downpressor Man' while Tosh's one time collaborators Bob Marley and the Wailers delivered their own 'Sinner Man'.
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Following the success of singles for Heavy D and the Boyz and his own project with C.L. Smooth, Pete Rock continued lacing the rap world with classics in 1994. One of hip-hop's most revered albums is Nas' debut 'Illmatic'. Pete Rock supplied the beat for one of the album's most memorable singles: 'The World is Yours'. Though it was not the album's biggest single and failed to break the Billboard 100, it is an East Coast rap necessity. The track pulls loops from the Ahmad Jamal Trio's 'I Love Music' from their heavily sampled 1970 album 'Awakening' as well as some vocal snippets from T La Rock's 1984 hip-hop single 'It's Yours' (notably the first production credit for Rick Rubin).
Pete Rock's chart success with Heavy D and the Boyz carried over to their fifth album, 1994's 'Nuttin' But Love'. The Pete Rock produced 'Got Me Waiting' was a top 20 single and one of Heavy D and Boyz' biggest hits. The track samples 'Dont' You Know That?' from Luther Vandross' 1980 album 'Never Too Much'. Another Pete Rock track from 'Nuttin' But Love' was released as a single: 'Black Coffee'. 'Coffee' contains elements of Vaughn Mason's roller skate rink jam 'Bounce, Rock, Skate, Roll' and James Brown's funk atom bomb 'The Payback'.The Lowdown:
Nas 'The World Is Yours'
from 'Illmatic' (1994) (MP3/CD)
Ahmad Jamal Trio 'I Love Music'
from 'Awakening' (1970) (MP3/CD)
T La Rock 'It's Yours'
Heavy D and the Boyz 'Got Me Waiting' and 'Black Coffee'
from 'Nuttin' but Love' (1994) (MP3/CD not available)
Luther Vandross 'Don't You Know That?'
from 'Never Too Much' (1980) (MP3/CD)
Vaughn Mason 'Bounce, Rock, Skate, Roll'
James Brown 'The Payback'
from 'The Payback' (1974) (MP3/CD)
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In 1990, under the tutelage of producer Paul C, Harlem-born Large Professor programmed beats behind the scenes for Eric B. and Rakim's album 'Let the Rhythm Hit 'Em' at the age of 17. In the following years, Large Professor would lend production to two of hip-hop's most influential albums of all time: 'Breaking Atoms' and 'Illmatic'.
Large Professor produced two tracks for Cold Chillin' rap unit Kool G Rap and DJ Polo's album 'Wanted: Dead or Alive'. The album's opening track, 'Streets of New York' contains a sample of the Fatback Band's 'Gotta Learn How to Dance'. Large Pro's stock hit the stratosphere in 1991 when 'Breaking Atoms' by Main Source was released (the album was covered extensively in two past posts in this blog here and here). One of 'Breaking Atoms''s biggest tracks is 'Live at the Barbeque'; built on a crushing sample of Bob James' 'Nautilus', it also introduces the world to Nas. Though 'Illmatic' was not released until 1994, Nas' first single 'Halftime' (originally released under the name Nasty Nas) was released in 1992. 'Halftime' contains drum samples from Average White Band's 'School Boy Crush. I'm personally not the biggest fan of AWB, but 'School Boy Crush' is an absolutely essential open drum track.
Check back to this blog for part 2 of the Large Professor Producer Profile for coverage of Nas and ATCQ.The Lowdown:
Kool G Rap and DJ Polo 'Streets of New York'
from 'Wanted: Dead or Alive' (1990) (MP3/CD not available)
The Fatback Band 'Gotta Learn How to Dance'
from 'Yum Yum' (1975) (MP3 not available/CD)
Main Source 'Live at the Barbeque'
from 'Breaking Atoms' (1991) (MP3/CD)
Bob James 'Nautilus'
from 'One' (1974) (MP3/CD)
Nas 'Halftime'
from 'Illmatic' (1994) (MP3/CD)
Clean Edit: 'Halftime'
Average White Band 'School Boy Crush'
from 'Cut the Cake' (1975) (MP3/CD)
'Hard to Handle' is a monumental break track and the source for many of hip-hop's most notable beats. 'Hard to Handle' was released after Otis Redding's tragic 1967 death on the album 'The Immortal Otis Redding'. It was a modestly successful single, but gained more notoriety and attention as time went on via covers and sample usage.
'Hard to Handle' appears in Marley Marl's posse cut 'The Symphony' with verses from Masta Ace, Kool G Rap, and Big Daddy Kane. Five years later, the sample would be used again by Grand Puba's self-produced 'Reel to Reel' cut titled 'Ya Know How it Goes'. 'Reel to Reel' is an often overlooked solid album and will be covered in full in a later post on this blog. The Trackmasters used 'Hard to Handle' as the basis for Nas' own posse cut with future members on the Firm on 'Affirmative Action' on his sophomore album 'It Was Written'.The Lowdown:
Otis Redding 'Hard to Handle'
from 'The Immortal Otis Redding' (1968) (MP3/CD)
Marley Marl 'The Symphony'
from 'In Control Vol. 1' (1987) (MP3/CD not available)
Grand Puba 'Ya Know How it Goes'
from 'Reel to Reel' (1992) (MP3/CD)
Nas 'Affirmative Action'
from 'It Was Written' (1996) (MP3/CD)
Clean Edit: 'Affirmative Action'BONUS CUTS:
The most well known cover of 'Hard to Handle' is likely the version by the Black Crowes from 1990. I'm not going to front - the opening drums on their version are equally useful for producers, I wonder who the first producer who uses this break on a hit record will be. An absolutely killer, relatively unknown version of 'Hard to Handle' comes from Patti Drew. Check out the drums on that cut, it's a bombast!
