Producer Profile: David Axelrod (Part 3, 1970-1972)

After two of his most sought after albums, 'Song of Innocence' and 'Songs of Experience', David Axelrod released his final solo album for Capitol records in 1970: 'Earth Rot'. Like much of his output, this album is highly sought after by beat diggers and has been sampled by hip-hop's finest. This post will cover 'Earth Rot', as well as some of his production credits for Cannonball Adderley.

'Earth Rot' is divided into two concept album sides and is not as widely known for its beats. In 1994, No I.D. sampled Axelrod's 'The Signs (Part 2)' on the title track single to Common's sophomore album 'Resurrection'. The same track would be sampled by Madlib among many others (including other Axelrod tracks) on 'Return of the Loop Digga' as Quasimoto, whose album 'The Unseen' is reviewed in depth here, here, and here. In 1999, Diamond D and Mos Def would use another sample from 'Earth Rot', 'The Warnings (Part 2)' for the track 'Hip Hop' from Mos Def's breakthrough album 'Black on Both Sides' (which will be reviewed in depth soon in a future post on this blog).

In addition to producing his own material, Axelrod continued his role as producer on much of Cannonball Adderley's 70s output. Among the many Adderley albums that have been sampled is 1970's 'The Price You Pay to Be Free' whose song 'Exquisition' was sampled for the Pharcyde's 'Pack the Pipe' produced by J-Swift. 'Soul Virgo' from the same album is one of the samples used by A Tribe Called Quest on 'Bonita Applebum' from their debut 'Peoples' Instinctive Travels and the Paths of Rhythm'. Six years later, Tribe would sample another Cannonball Adderley track. An untitled track from Adderley's 'Black Messiah' album was sampled by Jay Dee (J Dilla) and the Ummah for Tribe's '1nce Again' from 'Beats, Rhymes, and Life'.

Check back for our next look at David Axelrod's production career.

The Lowdown:
David Axelrod 'The Signs (Part 2)' and 'The Warnings (Part 2)'
from 'Earth Rot' (1970) (MP3/CD)
Common 'Resurrection'
from 'Resurrection' (1994) (MP3/CD)
Quasimoto 'Return of the Loop Digga'
from 'The Unseen' (2000) (MP3/CD)
Mos Def 'Hip Hop'
from 'Black on Both Sides' (1999) (MP3/CD)
Cannonball Adderley 'Exquisition' and 'Soul Virgo'
from 'The Price You Pay to Be Free' (1970) (MP3 not available/CD not available)
The Pharcyde 'Pack the Pipe'
from 'Bizarre Ride II The Pharcyde' (1991) (MP3/CD)
A Tribe Called Quest 'Bonita Applebum'
from 'Peoples' Instinctive Travels and the Paths of Rhythm' (1990) (MP3/CD)
Cannonball Adderley 'Untitled'
from 'Black Messiah' (1972) (MP3 not available/CD not available)
A Tribe Called Quest '1nce Again'
from 'Beats, Rhymes, and Life' (1996) (MP3/CD)

Producer Profile: J Dilla (part 3, 1998-1999)

Dilla, along with Q-Tip and Ali Shaheed Muhammad, continued their production as the Ummah by producing A Tribe Called Quest's 1998 album 'The Love Movement'. The lead single 'Find a Way' barely made a dent into the top 100 and although 'The Love Movement' peaked as #3 on the Billboard album charts, it didn't make much of a mark on the ever-changing landscape of hip-hop. 'Find a Way' begins a trend of odd, recent sample choices for Dilla - it nicks from Towa Tei's solo hit 'Technova (La Em Copacabana)' from only three years earlier. An album track from 'The Love Movement', 'His Name is Mutty Ranks', samples Aswad's 'Not Guilty'. A year later, Q-Tip would drop his solo album 'Amplified' with a heavier hitting single produced by Tip and Dilla: 'Vivrant Thing' (which samples portions of the Barry White produced 'I Wanna Stay' by the Love Unlimited Orchestra).

The Ummah lent production to Heavy D's second and final solo album in 1999 titled 'Heavy' (does production from the Ummah seem like the kiss of death to anyone else?). 'Listen' from 'Heavy' is typical of the Ummah style from the era. After the dissolution of the Ummah, both Q-Tip and J Dilla joined the loosely defined production collective known as the Soulquarians. Another artist from the collective is the Roots' ?uestlove. The link led to Dilla's production credit on the Roots' 'Dynamite!' from their critically acclaimed 1999 album 'Things Fall Apart'.

Check back for part 4 of our look at Dilla's career, including production work for Common, Erykah Badu, and De La Soul.

The Lowdown:
A Tribe Called Quest 'Find a Way' and 'His Name is Mutty Ranks'
from 'The Love Movement' (1998) (MP3/CD)
Towa Tei 'Technova (La Em Copacabana)'
from 'Future Listening!' (1995) (MP3 not available/CD)
Aswad 'Not Guilty'
from 'Live and Direct' (1983) (MP3 not available/CD)
Q-Tip 'Vivrant Thing'
from 'Amplified' (1999) (MP3 not available/CD)
Love Unlimited Orchestra 'I Wanna Stay'
from 'Music Maestro Please' (1975) (MP3 not available/CD not available)
Heavy D 'Listen'
from 'Heavy' (1999) (MP3/CD not available)
The Roots 'Dynamite!'
from 'Things Fall Apart' (1999) (MP3 not available/CD)

Producer Profile: J Dilla (Part 2, 1996-1997)

Following the limited success of 'Runnin'' by the Pharcyde, J Dilla (then, as Jay Dee) scored his second single 'Stakes is High' for De La Soul. 'Stakes is High', like 'Runnin'', was not initially successful but is now seen as one the essential mid 90s East Coast singles. The trademark laid-back beat for 'Stakes is High' is cut partially from James Brown's 'Mind Power' from his landmark album 'The Payback'. Dilla met Q-Tip of A Tribe Called Quest through Amp Fiddler in 1995, leading to the formation of the Ummah with Ali Shaheed Muhammed and Tip in 1996. One of the Ummah's most notable production credits is on Janet Jackson's 1997 single 'Got Til It's Gone', which famously interpolates Joni Mitchell's 1970 hit 'Big Yellow Taxi'. Though the actual production credits are still argued, the liner notes claim the producers of 'Got Til It's Gone' are Jimmy Jam and Terry Lewis, but many hip-hop fans contend that the beat is obviously by the Ummah.

In addition to breaking into the charts with the Ummah, Dilla was still trying to launch his own group, Slum Village. Slum Village, though not making an impression on Q-Tip at first, toured with A Tribe Called Quest in 1998. Due to problems with their label A&M, their 1997 album, 'Fan-tas-tic Vol. 1' was never officially released until 2005 (five years after the sequel was released). 'Fan-tas-tic Vol. 1' gives insight to Slum Village in an early stage and offers up some early Dilla beats. 'Forth & Back', in particular, shines with a sample from Herbie Hancock's 'I Thought it Was You'.

In a future post of this blog, we'll see Dilla's stock rise with Ummah's production for ATCQ's 'The Love Movement' and the formation of the Soulquarians.

The Lowdown:
De La Soul 'Stakes is High'
from 'Stakes is High' (1996) (MP3 not available/CD)
James Brown 'Mind Power'
from 'The Payback' (1973) (MP3/CD)
Janet Jackson 'Got Til It's Gone'
from 'The Velvet Rope' (1997) (MP3/CD)
Joni Mitchell 'Big Yellow Taxi'
from 'Ladies of the Canyon' (1970) (MP3/CD)
Slum Village 'Forth & Back'
from 'Fan-tas-tic Vol. 1' (1997) (MP3/CD)
Herbie Hancock 'I Thought it Was You'
from 'Sunlight' (1977) (MP3/CD)

Producer Profile: J Dilla (Part 1, 1995)

In 1992, after early cassette tape noodling and the formation of the rap group Slum Village, James Yancey (better known as J Dilla, though then known as Jay Dee) met veteran Detroit producer Amp Fiddler who let Yancey use his equipment to make beats. Only three years later, Dilla had production credits on over a third of the Pharcyde's sophomore album 'Labcabincalifornia'.

'Labcabincalifornia''s most notable single was the sublimely low-key Dilla produced 'Runnin''. Though it was largely ignored at the time of it's release, 'Runnin'' is one the Pharcyde's undisputed classics, thanks in large part to the way Dilla flipped samples from 'Saudade Vam Correndo' by Stan Getz and Luiz Bonfa. The brazilian samba sample adds a hazy touch that works perfectly with Pharcyde's laid-back West Coast style. Dilla also produced the album's first single, 'Drop', which appears on the b-side of 'Runnin'', making for a double loaded and infinitely necessary vinyl single.

One of the most oddball footnotes in Yancey's career, circulated widely the day after his untimely death in 2006 via email, is his beat for modern rock artist Poe. 'Fingertips' from Poe's 'Hello' features a deep and echoey drum track from Dilla, matched with a distant big band sample.

In 1996, Amp Fiddler would introduce Yancey to Q-Tip, leading to production for A Tribe Called Quest's 'Beats, Rhymes, and Life' and the formation of the Ummah. Keep it locked here as I look at more of Dilla's history in a future installment of his Producer Profile on this blog.

The Lowdown:
The Pharcyde 'Runnin'' and 'Drop'
from 'Labcabincalifornia' (1995) (MP3/CD)
Stan Getz and Luiz Bonfa 'Saudade Vem Correndo'
from 'Jazz Samba Encore!' (1963) (MP3/CD)
Poe 'Fingertips'
from 'Hello' (1995) (MP3/CD)

BONUS CUT:
'Runnin'' by the Pharcyde was remade in 2003 by Mýa and the Pharcyde and retitled
'Fallen', which failed to break the top 40. I hope Dilla got his money for this one.