A) Any release information on Mayer Hawthorne? That “Just Ain’t Gonna Work Out” track is great; I’ve been bumpin’ that as I did Darondo’s “Didn’t I” for days upon days.
B) In reviewing past posts, I realized that Kyle and I dedicated a lot of space to Guilty’s Ode to the Ghetto; a disproportionate amount for such a mediocre album. (That was over a year ago!)
Wow, it’s been so long since I’ve posted that the WordPress interface is wholly changed.
Believe it or not, Trading Tapes may in fact see a renaissance. Getting back to posting has required me to consider the reasons I’ve been away from it. Sure, time is always a viable excuse. It’s true, since school resumed (you’ll note my last post was 09/01/08, two days before classes started) my time outside of school has been slightly altered. For one, I thought that after applying some significant time on computer/paperwork (depending on the day), I naturally moved away from doing a similar exercise at home. Similarly, as my music posting decreased, so did my music blog viewing. There has also been a decrease in music listening. This I can’t explain so easily. While I think there have not been too many quality releases of late, that still doesn’t explain why I was not moved to post when Q-Tip’s Renaissance dropped, or Raphael Saadiq’s The Way I See It, or Plantlife’s Time Traveler, or N*E*R*D’s Seeing Sounds, or one of my favorite 2008 releases, Johnson & Jonson’s Johnson & Jonson; I could go on. The point is, there were a number of releases in the latter part of 2008 that should have moved me to post. They didn’t.
So, I guess there is no easy diagnosis, and no predictable prognosis for Trading Tapes. I am going to make an effort to listen to more music, e.g. less NPR and more music en route to work. I think that may have the best impact of bringing me back.
We’ll see.
Still awaiting the new Foreign Exchange.
Allegedly, Q-Tip’s Renaissance will finally see a legitimate release November 14. This, I’m sure will be updated again.
Black Milk’s Tronic. Has a slew of interesting guests, including Pharoah. Him on Black Milk beats is tough to beat.
And, while perusing the net, I came across this blog, which features a prominent disclaimer in the upper right corner (directly below the blog’s description). Check it out. Hilarious.
Finally, while I’ve been virtually nonexistent on the interweb this summer, I’ve been continually entertained, and informed, by Von Pea’s blog. I particularly enjoyed his explanation behind my favorite track off The Bridge, “Get Me Inside.”
As I get ready to go back to school, I’ve been trying to bookend my summer. Bookending always involve playing some dope music. I’ve been revisiting The Nonce’s World Ultimate for the umptheenth time (revisit my revisit), along with Down South’s Lost in Brooklyn (thanks to WTR for reminding me of this), and Dred Scott’s Breakin’ Bread. I put these albums on consecutively, and I have unbelievable beat, after dope beat.
Dred Scott’s funky beats are par for the course for 1994. Heavy with funk and jazz samples (check the beat and tale of the West Coast-sounding “They Don’t Know”). Scott handles all the production on this once-recondite classic (I think it’s more well known now, thanks to the blogosphere). I’m not sure why I didn’t know about this back then. Dred Scott’s beats resplendently parallel the beats of more notorious “Golden Era” producers, namely Pete Rock. And like Pete Rock, his music taste is incredible, and affords Breakin’ Combs with a constant layering of amazing samples. Many of these samples are, I’m sure, more well-known and recognizable now then they were in 1994 (again, thanks to the blogosphere), but I can’t help but think that had I heard this in 1994, I would have most certainly bugged out when listening to tracks like the opener, “Back in the Day,” and the closer, “Frankie’s Groove.” The latter is a jam-session instrumental, heavy on the piano and bass. And yes, Breakin’ Bread is also spotted frequently with all the horns one could want; see the aforementioned “Back in the Day.”
Dred Scott is comparably able on the mic. However, he doesn’t really have the presence or signature sound that many of his more popular contemporaries had, and I surmise that may have been a reason why Breakin’ Bread never found its niche. For example, some tracks have him sounding something like Brand Nubian, in both delivery and subject matter. For example, “Swingin’ From The Tree” has Scott doing his Sadat X as he delves into the many perspectives of black culture; in an indirect way of promoting unity, Dred Scott puts all people in a ship that is sinking as the differing groups fight to promulgate their way over others’. The story ends with everyone in the ship sinking together, in disunity. “Check The Vibe” is a Tribe Called Quest-sounding, laid-back track, complete with female singer on the chorus; for Tribe it was Vinia Mojica, while Scott employs Adrian Evans, whose debut album, Adriana Evans, Scott would lend lots of production to in 1997.
One of my favorite tracks is “They Don’t Know.” On it, Scott cooly talks of his skills. Of course, some fool in a club is bound to try and break the flow (don’t you hate when that happens?); in this case, it’s a blunted “fool” with “gold on the two front teeth.” After agreeing to a beat challenge, in which Scott puts his gear on the line, they shook hands, Scott “rocked it,” and walked away with “two gold teeth in his pocket.” That’s hip hop.
Breakin’ Bread, like so many albums from its period, plays amazing from front to back. Should you get your hands on this album, you’ll have a good hour of captivating and nostalgic beats, and lyrics that while not too heavy, are captivating and put most contemporary emcees to shame. In light of a what is considered lyrical content these days, Dred Scott shows how lyrics and flow were taken for granted back in the 90’s. This is particularly true when paired with the amazing beats that paint Breakin’ Bread.
I’m relaxing and listening to Jackson Conti’s Sujinho. I dig this.
And it reminded that once upon a time, I typed words, which reflected brief thoughts on Sujinho; I vaguely recall taking those words and through some miracle of modern science, posting them on the internet. I assume once they’re there, they belong to history, much like Honest Abe.
I really haven’t forgot about Trading Tapes; nor do I think Kyle has. It’s summer. What more can I say? I know lots of music has bounced between my ears since school ended and summer commenced. I did get into Dwele’s Sketches of a Man. It’s dope, if you haven’t copped it. “If You Want To” & “Vain” are currently my Dwele d’jour.
Summer’s a tough time to be sitting and blogging.
I’ll be around. Thinking of a post for Shawn Jackson’s First of All…, or maybe N*E*R*D or Dwele.
To be continued…
In the mean time…holla!
With the addition of a new network card, via a new computer, and the inclusion of an Apple Time Machine to my world, I’ve finally restored some normalcy to my own WWW. No more manipulating the rabbit ears to check my email.
My inconsistent WWW over the previous month has left me feeling a bit out of the loop. I’m not sure how accurate my own perception is, however. I’ve still managed to procure Tanya Morgan’s The Bridge, Kidz in the Hall’s, The In Crowd, Al Green’s Lay It Down, Jackson Conti’s Sujinho, and most recently, Common Market’s Black Patch War. I’d say that’s a pretty good yield for a month. Isn’t it interesting that there’s an apparent correlation between my WWW access and music acquisition? I can’t say I saw this coming in 1998, when I was still racing to Music in Your Ear on Thayer St. with my boy Skillz to cop Blackstar and The Love Movement.
Thanks to WTR for throwing that Common Markets track out there. I’ve been listening to Black Patch War for literally 24 straight hours. Sabzi’s production is a subtle throwback. Kind of reminds me of late 1990’s Shawn J. Period, employing lots of floating horns, flutes, scratches, etc. And RA Scion makes me think of Talib Kweli without the nasal congestion. Feel of album is akin to the contemporary-old school-feel goodness that has been coming out of the Pacific NW, see Blue Scholars & Ohmega W-W-Watts, Watts. (Note: I’ve also added Common Market, conveniently located on the WWW too).
Al Green’s Lay It Down. Talk about a throwback. Maybe I’m an ageist, but I usually don’t get too amped when old school cats come out with new albums. It’s a long story I suppose, but in short, it has something to do with the given, now-aged artist, attempting to contemporize their style in a new context. It’s a tough task. Or…maybe I am just an ageist…(or maybe I just have the bad tastes of Mariah Carey and Mary J. Blige in mind). Whatever the case, Lay It Down exudes the familiar Al Green of I’m Still In Love With You…30+ years later. Much of this credit of course is due to the man himself. His voice is as smooth as ever. Green’s adlibs are fresh. The man is soulful. The title track, featuring Anthony Hamilton, has Green all over the musical scale, but it works just as it did on “Call Me.” On the production side, The Randy Watson Experience (James Poyser & Questlove) continue to make amazing music. The backdrop they provide Lay It Down preserves Al Green’s soulful crooning. Some how they manage to capture soul of Green’s early days within a 2008 context. At points through Lay It Down, it’s difficult to date the song. That’s the definition of timeless.
Sujinho brings together Madlib and Brazillian drummer/percussionist Mamao, as Jackson Conti (their respective last names). Sujinho is Madlib doing his homework. This isn’t him simply diggin’ through some crates and putting a YNQ spin on some old standard, or concealing some 1964 drumline in some far-out, Quasimoto-Monk Hughes amalgamation. This is Madlib, as Otis Jackson, being the music fan and doing his homework; traveling to South America; eating local cuisine; and kickin’ with an old-school drummer. The result plays like a jam session. Sure, it’s got that now-classic YNQ style to it – the indiscrete shifts in tracks, the occasionally discordance of sounds – but this time, you can hear that more than one person and his imaginary friends are playing together. Madlib and Mamao have made what I presume all jazz-fusion albums of the 60’s and 70’s were like. A few dudes getting together and trading industry secrets, and experimenting. This is nicely demonstrated on “Brazillian Sugar.” Honestly, I’m still digesting the final product. While I’m not a music theorist and cannot dissect the the technicalities, I can judge feelings sounds provide; the overall sound is dynamic, feel-good, & is a perfect Spring-Summer soundtrack.
In addition to Al Green & Dwele (Sketches of a Man), the following on my own radar:
- Raashan Ahmad – The Push. Raashan Ahmad is from Crown City Rockers, of Earth Tones fame. I haven’t heard anything off of it, but I’m curious…is all.
- N.E.R.D. – Seeing Sounds.
- Foreign Exchange – Leave It All Behind.
- J-Live – What Happened Next. Always interested to hear this guy on the mic. Always luke warm on some of the production that backs him.
We’re still here. I’m just getting through an engaging month a work. But, I will be sure to reapply my finger to the music pulse shortly. Kyle? I know he’s busy too.
I am looking forward to Al Green’s album dropping tomorrow. Due to my internet issues, which are still in the process of being resolved (requires a new network card), I’ve been pretty out of touch with any previews, leaks, etc. Most recently, I’ve bought The In Crowd and TM’s The Bridge. Enjoying both, particularly the latter.
I apologize for the minimal action here, but TT will be back in full swing as the weather continues to warm…and this network card is remedied.
Until then, consider the following:
1) what’s your thoughts on The In Crowd and/or The Bridge?
2) your prospects for Al Green?
3) Dwele. Kyle forward me this. Enjoy.
It’s been a tough two weeks around my crib. Internet is acting a fool…or some related apparatus is. Whichever the case, my access to the WWW has been limited and unpredictable. I feel like one of my Constitutional rights is being violated here. I’m not sure how the Founding Fathers would have anticipated the Web, though.
At any rate, I feel like I’ve relegated to the Dark Ages. As far as I’m concerned, the Earth is flat; and the epicenter of the universe. That’s how I feel about music right now. Being that I refuse to listen to the radio, the internet has, for several years now, been my primary source for reading about and listening to new music. I DID actually try to listen to the radio today while I drove to a meeting…I made it through about 17 seconds of what I presume was a Lil’ Wayne song featuring some up-and-coming crooner who I don’t know about.
I don’t know where to start. I’ve spun through my ATCQ discography this week. I still maintain that Erykah’s New Amerykah is the hottest album of 2008. Max Kelleman of ESPNRadio (one of my other brief radio stops today) talked about Mobb Deep as “Shook Ones” played in the background. Him and whichever guy hangs in the studio with him curtly discussed what one has to do to be an “official Queens Bridge murderer.” Good question Max.
Okay. So new music. I just purchased Kidz in the Hall’s The In Crowd. I’ve yet to listened to it. Based on their first album, School Was My Hustle, and the two “mixtapes” that hit the internet, I’m looking forward to getting into this. Re School Was My Hustle – honestly, while I like it, only a portion of the album has any replay value for me. I’m hoping their second offering shows some learning/growth from their debut. I think Double-O has it in him to be a GREAT producer. Anyone who has copped it, thoughts?
CLE @ BOS. I’m out.
Peace and happy listening. Here’s to me sorting this internet out.
NOTE: I was just reminded that Al Green’s Lay It Down drops this month!
UPDATE, 05/08 – “The Black Out” is bangin’ inside my ear drum right now.
Just a brief list of tracks I’ve become cozy with:
1) Tanya Morgan – “Waiting for You,” Tanya Morgan is a Rap Group – Soulful production. Entertaining tale. Ilyas continues to come up with the hilarious verses/delivery. Although, I am underwhelmed with the other TM mix that came out this year, Tanya Morgan presents: Beat Thieves 2, Tanya Morgan is a Rap Group is one of my favorite 2008 releases; I’m really looking forward to their next album.
2) Buckshot f/ Talib Kweli & Tyler Woods – Hold it Down,” The Formula – 9th Wonder taking it back to The Listening days on this. I’m nervous about The Formula, however. Through a few previews, I’ve noted a handful of tracks that feature a female singer on the hook who can’t sing/sounds like she’s 12. What’s the deal with that? (Check De La’s “Much More” feat. Yummy from The Grind Date to get my drift).
3) Kenny Segal f/ Abstract Rude, Aceyalone, Busdriver, Dr. Oop, & Nocando – “Backyard BBQ,” Platinum Dreams – Platinum Dreams is a mix released from 88-Keys, presumably as a primer for the release of his Death of Adam project (due out soon I think). It’s a potpourri of artists, instrumentals, etc. I love the guitar sample in this. Reminds me of something that would have been on ATCQ’s Beats, Rhymes, & Life. And, Aceyalone is awesome.
4) Kidz in the Hall – “Work to Do,” Geniuses Need Love Too/Kidz in the Hall & Mic Boogie Present: Detention - Subtitled Obama ‘08. I know this technically came out in 2007, but it’s a dope track.
5) Black Spade – “Evil Love,” To Serve With Love – Chopped up beat. Black Spade sings and raps his way through this love gone wrong plot, “Why do we make up just to break up like this beat here, here…” His stutter delivery is reminiscent of Dilla. A great track off a great album.
6) 100dbs and Ryan O’Neil – “She Got a Body,” The Adventures of The One Hand Bandit and the Slum Computer Wizard – Again, this album/track came out in 2007, but I love this track. Nothing groundbreaking as far as the story goes, think Mos Def’s “Ms. Fat Booty.” 100dbs’s production is solid through the album. I love the subtle horns and keys on this one.
Eddie Gale – Eddie Gale’s Ghetto Music, 1968 Blue Note Records
Insight and ancestry. Two inter-related concepts that highlight the importance of the oft-cited “knowledge of self.” Insight and ancestry also provide context. Within music, insight and ancestry have helped me broaden my tastes and musical aptitude. As such, I think it’s important to occasionally climb down hip hop’s family tree and explore its roots.
I’ve just recently stumbled upon Eddie Gale’s Ghetto Music. This is certainly one of those albums that flawlessly recapitulates the form and movement that constitutes great music; similar to the more renowned works of John Coltrane, Fela Kuti, or Sergio Mendes, to name but a few. Reminding myself that I’m still learning to listen to jazz, a few spins through this album has the feel of timelessness, should timelessness be an emotion. With its 1968 release date in mind, it is certainly reminiscent of a time when free form in music paralleled the free ideals that echoed throughout the late 50’s and 1960’s. For example, the use of a choir in the opener, “The Rain,” and the closing “The Coming of Gwilu,” provide a soulful demonstration of people and unity, a subtle, if manufactured, symbol of the civil rights movement. I was impressed to read in this 2004 review that Eddie Gale’s Ghetto Music enlist 17 artists: from Eddie Gale on trumpet, steel drum, Jamaican thumb piano, and even bird whistle; his sister Joann Gale on vocals and production (“The Rain”); through a slew of other singers, horn players, and bassists. This album is truly a lesson in unity.
With all those cooks in the kitchen, you may think Ghetto Music may sound disconnected, especially with all the sounds and styles that Gale utilizes throughout. For example, “Fulton Street” is a seeming celebration of a community comprised of different people, or sounds. With the choir chanting “Fulton Street!” and Gale employing an all-orchestral attack as he leads on trumpet, its punctuated toward the end with bass and drum solos, before the choir and orchestra join hands again.
One of my favorites of the five track set is “The Coming of Gwilu.” It begins subtly, with the bird whistle, followed by what is presumably the Jamaican thumb piano, and a flute solo, before the drum- and bass-lines move in. The choir comes in with a classic call and response delivery; finally Gale and the other horns join the procession. “The Coming of Gwilu,” conjures an image of a forming parade: beginning with the whistling bird, floating down a street; it alerts the next marcher, who runs out of his of her house; the flute is alerted to the parade, and runs out of his or her house to join…and so forth and so on…until the entire orchestra (all 17 artists for all I know) are joined together, signaling the coming of Gwilu…down Fulton St. perhaps. Why not?
The aspect of this album I enjoy the most is the interpretive value it holds. A collection of so many artists and sounds is bound to be subjective. For me, it’s the celebration of unity. A poignant message in 1968. A message that has experienced a rebirth in 2008. And such is Eddie Gale’s Ghetto Music: dated on one hand; timeless on the other. I’ve searched the net for reviews of this album and have found very few, including the one I’ve linked to above; check here for a comprehensive look at the Eddie Gale – he’s as essential as his music as the people he’s worked with span the musical world. I think the listening experience of Ghetto Music can lead to some great interpretations. Feel free to share your own.
Two closing notes. First, the album art is great. In 1968, was there a more powerful image than a unified procession, with dogs in tow? Secondly, this album reminds me of Max Roach’s We Insist (Freedom Now Suite) from eight years earlier. The diverse sounds and inspiring unity they produced parallels Ghetto Music.
UPDATE: Check this review out as it also covers Gale’s follow-up, Black Rhythm Happening.
By now, I’m sure most of ya’ll have heard Buckshot and 9th Wondra’s “Hold It Down” (off their upcoming The Formula). If you haven’t, I apologize. I’ve been trying to post the video here for the past 30 minutes to no avail. Kyle, you on top of that? Anyway, I’m going to cheat and just throw the link up…here (NahRight, represent).
I’ve been playing this track since I heard it on the Mic Boogie/Kweli The MCEO Mixtape. I didn’t have the wherewithal (or arithmetic) to put 2 & 2 together and realize this would be on The Formula.
At any rate, I’m feelin’ 9th on this beat and looking forward to Buckshot and 9th part 2 (I thought Chemistry was real dope). Keep up the good work gentlemen.
Thoughts?
…very quickly, I just wanted to drop a link to this week’s Worldwide show, where Gilles Peterson points out some of the best tracks from the first part of 2008.
Tracklisting:
Word on the street is there is an “Obama for President” mixtape in the works. Word?
I wonder if this will be the authorized mixtape.
Might this be on it?
UPDATE: Ivan, as usual, is already up on this.
I really enjoy perusing hip hop blogs to see what everyone is listening to; who likes that album, track, beat, emcee, etc. Since the Tanya Morgan/DJ Soul mixtape, Tanya Morgan is a Rap Group, has hit the web, I’ve been surprised at the little I’ve read on it. I’m still spinnin’ New Ameryah, and of late, have been going through my De La discography; but Tanya Morgan is a Rap Group has really been a speaker hog. Their full length, Moonlighting, was certainly in my top 5 of 2006. And, while this mixtape is an amalgam of sorts, representing old TM, random tracks/cameos, and presumably some tastes of TM to come, I think it’s one of the better listens out right now. I know I don’t live in a vacuum – hence, my suprise at the little blog space I’ve found sharing thoughts on TM. I’ve read quite a bit on Guilty and eMC (since the latter’s official release, even more so). I’ve had two questions:
First, is Tanya Morgan is a Rap Group kind of overlooked because it is a mixtape, and not an “official” release? I can see this happening (or, are listens too wrapped up in Ode and The Show to notice?) I tend to categorize mixtapes differently than LPs; but, I think TMRP is just that dope! Secondly, are people turned off of TM because they’re seen as “hipsters?” I never thought about this, but I have seen some bloggers express that they’re turned off by the “hipster movement.” I was 10 when 3 Feet High & Rising came out, so I wasn’t privy to real-time discussions on that album; But, as afterthoughts years later, I do recall a similar critique of De La Soul. De La responded by titling their sophomore release, De La Soul is Dead, as a humorous answer to the hype around 3 Feet. Hence, I guess this contemplation has spawned a other questions:
Is there a “hipster movement?” If so, does it have a definitive shelf life? If TM are hipsters, who joints them in their movement? (they need allies, no?) Are they trying to take over the world? Or are they trying to save the world? Are they entwined in a rivalry? Perhaps hipsters are affiliated with backpackers? How do hipsters feel about the rising gas prices? Do they not rhyme about watches and cars because they can’t afford them? Will they have their own video game? Who would play Von Pea in a movie? Just because Illyas got locks, does it mean he’s Jamaican? Who’s more likely to back their movement: Obama or Hillary?
I know, I’ve given you a lot to consider. It will help you if you put your Tanya Morgan playlist on; be sure to include any Von Pea you can get.
About two months ago, I had the following to say about Guilty Simpson’s “Getting B***ches”:
“Getting B*****” is one of the last highlights from this offering. I must admit that Denaun Porter has become one of my favorite producers in the last six months or so. His beats are so crisp and loud, yet manage retain the critical amount of grime that keeps them street-worthy. His works also possess a soulful quality that is hard to describe–though it is undoubtedly aided by Mr. Porter’s unique, falsetto singing voice that finds its way onto his tracks. Guilty is dope here. This beat provides the busy, noisy, and dirty playground that Guilty Simpson needs…
Two months later, this is still one of my favorite tracks off an otherwise underwhelming LP. I’ll say it again: I think it captures Guilty and Mr. Porter at their respective best. Denaun Porter is one of the dopest in the game right now. I had thought that this track would make a good single, and it still might; but it wasn’t on the first 12″ ; however, they did release a video for “Getting B***ches” last week. Peep it:
This is certainly an interesting issue, politically speaking, because there’s no big bad villain on either side for people to rally against and take sides. It’s fan vs. his favorite musician; techie-information-ager vs. the anti-establishment artist that supplies the soundtrack to his web-surfing and blogging.
So, to follow up on Pete’s post, here’s my take:
In my reading of Madlib’s comments, he was basically saying, “If you like our music, stop posting those samples, because we’re going to get hit with lawsuits and have to stop making this type of music.”
Every Google-able blog post incrementally increases the chances that an enterprising lawyer or corporate research department latches on to an uncleared sample, and files suit. Sure, the information is all discoverable on the net, but that’s why this is the information age and people pay money for other people to organize all that information into an easily-digestible format. The organization of this information is vital (and ironically, copyright-able, as well). These blog posts are doing that work for free.
Whether you pay up front by clearing the sample, or at the back-end by settling a lawsuit, sampling can be expensive for artists like Madlib, and indeed cost-prohibitive.
That is the simple economics of this game, from what I understand. If these artists complied with the strict letter of the law, they couldn’t afford to make those beats.
Ivan actually concedes this point, and ultimately agrees to cease the behavior that Madlib complained about:
Point #5: Should Underground Artists Get Leniency on Copyright Laws?
I mentioned this argument before, and I think it’s one of the the most grounded and fair-minded of them all. Here’s a board member who expressed it quite wisely:
Well if you don’t want to hear anymore classic underground albums come out in the future then keep doing what you’re doing. Realistically there is no way they could have cleared all the samples on Madvillainy, and Lib is obviously trying to prevent any lawsuits now that would both effect him financially, and potential listeners aurally as the album would be withdrawn from stores. You state that you believe all samples should be cleared, but if that was the case 90% of the great underground albums wouldn’t exist.
This leads me to the conclusion that I will now no longer complete sample sets of albums by underground artists such as Madlib. Fair enough people? See? I can be reasonable!…
Now, he goes on to address the various other (sometimes immature) comments made on his blog, and engages many of the faces of this issue as moral and legal matter, but I wanted to highlight the above passage, just so that it does not get lost in cacophony of unrest. It’s understandable to want to defend one’s self under these circumstances, but we shouldn’t lose sight of the issue: assuming he meant what I said above, Madlib was probably right.
In point #5 Ivan expresses an entirely rational position that I actually share. I think it acknowledges that, whatever one thinks about the morality of Madlib’s behavior vis a vis the original artist, and the appropriateness of a fan’s ability to discuss that sampling, as fans, we wouldn’t want to do anything that would make it no longer economically feasible for Madlib to make his music. That risk is real, and the decision on the part of the fan is cold, and rational. So, if you value Madlib’s contribution to the art form over the satisfaction that you get as a fan from public discussion of sample credits, you realize that these blog posts might not be a good idea.
After so many words have been written on the topic, Ivan may be disappointed to see such an binary explanation, but I really think that the issue forces these writers to choose what is most important to them: their sample heavy blog posts or Madlib’s music.
I don’t think that Ivan’s work is wrong in any moral sense. Far from it–it’s excellent. After thinking about the issue for a while, I just think it’s unwise, in light of the above.
The real culprit is the law (“Redirect the anger against politicians and judges, very clever, Kyle!” –Ed.). But until the law changes, the hip-hop community has to get by, and we need good music like Madlib’s to keep the art alive.
For what it’s worth, I think that an enterprising lawyer from our generation will one day convince a judge that sampling is form of “fair use”, making permission from the copyright holder unnecessary. I’m sure this has been argued unsuccessfully in the past (I haven’t done the research), but I’m hoping that as the hip-hop generation populates the legal culture, our attitudes might change, and make this argument more palatable. This might actually become a research project for me.
But if it happens, it is going to be intelligent, articulate folks like Ivan that make a difference… and this discussion is only priming the pump for that future endeavor. Let’s make it happen.
PS: Many of my references to Ivan and Madlib were merely shorthand, as this debate involves many other similarly-situated parties; pardon my laziness, Ivan.
Pete, did you peep the “Killa Tape Interlude” on the new Tanya Morgan mixtape (track 8)?
That’s why I have love for these guys. They make the music that we would make if we could make music.
I think some fellow bloggers have done a good job of elucidating the sampling debate given some shine by Lord Quas’s apparent request for the removal of a compilation of original samples for Madvillainy. Hiphopisread has been on the story like Fox News on a car chase in Los Angeles; I’ve enjoyed perusing it during my morning blogroll. (Side note: some of the “blogger” comments he imbedded in his post are quite funny). Being as Kyle and I have often had this discussion in the past, and also employed the oft-quoted Primo, “…that’s some greedy ass, fake bull$hit…” I wanted to add my nickels.
The researcher in me accepts most of the sentiments shared by Ivan and some of his readers. There are few experiences that get me more amped than listening to a track and having that “A-Ha” moment that links a track to some dusty song from three decades ago. I’ve often, in my excitement, dropped some of my friends an email, something to the effect: “Yo, check [Track Title] by [Artist]; you hear that vocal sample/bassline/etc.? Yadda yadda yadda…”
As such, my interest in compilations such as the aforementioned Madvillainy samples, or websites that curtail my research, e.g. SampleSpot, certainly peak my interest and have serviced me well. And I have sought out sites that provide information on tracks; I own several compilation albums, e.g. (and perhaps ironically) DJ Premier Salutes James Brown, which features original James Brown tracks on one disc, with Disc 2 featuring hip hop songs that sampled said tracks…mixed by Primo by the way (as per my sources).
In short, the hip hop fan in me appreciates the access to sampling information, whether it’s in the album’s credits or not.
With that said, I can also align with the ideas that Lord Quas, or Madlib, or whoever else may posit regarding the act of posting/promulgating sample origins. Hear me out.
Hip hop producers have managed to make great music AND clear/cite their samples. Both activities can coexist in a “financially perpendicular” relationship. ha
However, I can understand, from an artist’s perspective, why they’d prefer to have the samples remain obscure…or at least not available in a collective union. It MAY challenge the freedom they have in making the beats we love so much. I understand the gist of sample clearance. From that, I can derive a sense of what an artist must go through when conceptualizing a track/beat/album – it can be quite daunting I imagine. And while I mean no disrespect to the sampled artists, I don’t think clearance should be a hindrance to the creation of an amazing album, say…for consistency sake, Madvillainy.
I know, it’s really an argument one can hardly push through too easily.
Okay, the grand finale.
From an artist’s perspective, I can certainly understand Lord Quas’s request (the manner and reason of his request are another thing). While I don’t wholly agree that identifying samples hurts hip hop, I think it walks the fence of hip hop capitulating to “the Man,” or sample clearance regulations. As such, it almost defies the spirit of what backs the revolutionary history of hip hop. Despite the Souljah Boys and Rick Ross’s of the world, I still see hip hop as the music of the people; the unity, soul, and creative threads that tie its listeners together. (Sorry, I’ve been distracted by Duke winning…talk about snitches…) In a way, I see sampling as aligning with that notion, and allowing artists to spin some sonic yarn that I, in NJ, can feel, as well as dude in Texas, L.A., Chicago.
NOTE: The above are the thoughts of me, and do not necessarily, or in its entirety, reflect the thoughts of other Trading Tapes contributors. But, if Kyle agrees with what I’ve shared, he damn well better cite me.
UPDATE: Check hiphopisread for an update on the debate, and another insightful perspective.
