Tag: Dr. Dre

Throughout the course of this site’s almost nine year history, I’ve spilled quite a bit of virtual ink on the ridiculously prolific New York-based producer, DJ, remixer and JOVM mainstay Rhythm Scholar. Now, as you may recall, the New York-based JOVM mainstay has received attention from this site and elsewhere for a slickly produced, funky, crowd-pleasing mashups and remixes of classic soul, funk, soul, hip-hop and New Wave. Interestingly, over the past year or so, Rhythm Scholar has enlisted a backing band featuring frequent collaborators Jason Spillman (bass) and Marcus Horndt (Rhodes) and Big Once (turntables), all of whom have helped the JOVM mainstay move towards an increasingly organic take on his work.

Rhythm Scholar’s latest remix finds him taking on Snoop Dogg and Pharrell Williams‘ smash hit collaboration “Drop It Like It’s Hot.” And while retaining Snoop’s imitable and effortlessly smooth flow, the JOVM’s mainstay’s kaleidoscopic remix recalls both Dr. Dre-inspired G Funk-era production and cinematic 70s soul, as the track feature samples from four classic blaxploitation films, 1973’s The Mack, 1973’s Magnum Force, 1975’s Rollerball and 1976’s Car Wash and is centered around twinkling Rhodes, a propulsive, disco-like bass line, fluttering electronics, congos and some much-needed, old school turntablism. Simply put, it’s a lysergic yet funky strutting take on a beloved banger.

 

 

 

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New Video: Evidence Teams Up with Atmosphere’s Slug and Catero on a Soulful and Earnest Single Paired with Gorgeous and Surreal Visuals

Born Michael Taylor Perretta, Evidence is a Los Angeles, CA-based emcee and producer, best known as a member of the renowned hip-hop act Dilated Peoples with whom he has released four full-length albums. As a producer, Perretta has collaborated with the likes of Beastie Boys, Linkin Park, Swollen Members, Defari, Planet Asia and a co-production credit on Kanye West’s Grammy-winning, full-length debut The College Dropout.

The Los Angeles, CA-based emcee and producer’s 2007 full-length debut, The Weatherman, which was released by ABB Records, the long-time label home of Dilated Peoples featured tracks produced by Perretta, The Alchemist, Sid Roams (the production team of Joey Chavez and Tavish “Bravo” Graham), Jake One, DJ Babu, and DJ Khalil, as well as collaborations with the Dilated Peoples crew. By 2009 Evidence signed with Minneapolis, MN-based hip-hip label Rhymesayers Entertainment, who released his 2011 sophomore effort Cats & Dogs, an album that wound up being among his most commercially successful as it landed at #64 on the Billboard 200.

Evidence’s four full-length album Weather or Not was released earlier this year through Rhymesayers, and the the album is the  first batch of new material since 2014’s The Alchemist-produced Lord Steppington, and as you may remember, the album’s third single “10,000 Hours” found the Los Angeles, CA-based producer and emcee further cementing his reputation as an incredibly dexterous and criminally unheralded emcee, who has ridiculous rhyme schemes — all while discussing ho much time he spent practicing, refining and developing his skills over a swaggering DJ Premier production featuring squiggly synths, boom bap beats, a forceful bass line, samples from Snoop Dogg, Dr. Dre and GURU that managed to be anamalgamation of strutting West Coast hip-hop and stomping, menacing, old school East Coast hip-hop.

Weather or Not’s latest single “Powder Cocaine” is a collaboration between Evidence and Atmosphere’s Slug that features an atmospheric The Alchemist production that consists of tweeter and woofer rocking boom bap beats, a subtly chopped up choral vocal sample and warm blasts of bluesy guitar paired with a soaring hook sung by Catero that’s the emotional and metaphorical underpinning of the song. In fact, as the story goes, after enlisting Catero to write the song’s hook. the vocalist came back with a verse that ended with “but everything’s fine if I try to remain like powder cocaine . . .”  Understandably, the line stuck with both Rhymesayer labelmates, and it opened the doors for the duo to write rhymes full of diverse metaphors and descriptive symbolism. Yet, despite the song’s title, Evidence has never used the drug. “I’m like the only person in Los Angeles, who didn’t do cocaine, and Alchemist, too,” Evidence says in press notes. “We made a pact, you know, when friends are young and we actually stuck to it. The song is not a pro-cocaine song, but rather just using the saying as an expression of being all good.” 

Directed by Jason Goldwatch, the recently released video for “Powder Cocaine,” is actually influenced by Evidence, a passionate shutterbug — and as a result, the video is full of gorgeous and surreal visuals that employ a photographer’s sense of composition and framing to emphasize very specific things. 

Born Ryan Daniel Montgomery, Royce da 5’9″ is a Detroit, MI-born and-based emcee, best known for his longtime association with Eminem, with whom he’s one half of duo, Bad Meets Evil, a critically applauded solo career, primarily collaborating with Carlos “6 July” Broady and DJ Premier, as well as ghostwriting for the likes of Diddy and Dr. Dre. He’s also a member of Slaughterhouse, an All-Star hip-hop act that also features Joe Budden, Joell Ortiz and Crooked I, and one half of PRhyme with the legendary DJ Premier.

As the story goes, Royce da 5’9″ signed his first deal with Tommy Boy Records, who offered him $1 million while Dr. Dre’s Aftermath Entertainment offered him $250,000 and unlimited beats, a decision that he described as one of his biggest regrets in a 2016 Complex interview. After Tommy Boy Records closed, the Detroit-based emcee signed a deal with Columbia and Game Recordings, with whom he began recording an album then titled Rock City, a title which referred to Detroit being the former (and best known) home of Motown Records. When the album wound up being heavily bootlegged, the Detroit-based emcee left that label for Koch to re-record the album, eventually releasing it 2002 as Rock City (Version 2.0). And although the album didn’t sell well, the DJ Premier-produced single “Boom” helped Royce achieve some underground recognition and lead to the two working more closely with PRhyme.

Their 2014 debut album together featured both artists going out of their comfort zones, and expanding upon their familiar sounds; in fact, Premier enlisted the compositional skills of Adrian Younge, whose work he sampled throughout the album’s production while Royce da 5’9″ traded bars with the likes of MF Doom and Little Brother‘s Phonte on the initial release, and with The RootsBlack Thought, Joey Bada$$ and Logic on the deluxe edition released the following year. PRhyme 2, the duo’s long-awaited sophomore effort is slated for a March 16, 2018 and the album’s latest single “Rock It” features a swaggering production consisting of shimmering synths, twinkling keys, boom bap beats, some of Premier’s classic sampling and scratching which Royce da 5’9″ waxes nostalgic over some of his favorite artists, while reminding listeners that he’s one of contemporary hip-hop’s sadly under-appreciated emcees; but perhaps more important, in an age in which most mainstream artists increasingly sound the same, real hip-hop that I remember  — dope emcees spitting bars over slick and thumping production still exists and is still absolutely necessary.

 

 

 

New Video: Evidence Takes You on a Gritty Tour of Los Angeles in Visuals for “10,000 Hours”

Born Michael Taylor Perretta, Evidence is a Los Angeles, CA-based emcee and producer, best known as a member of the renowned hip-hop act Dilated Peoples with whom he has released four full-length albums. As a producer, Perretta has collaborated with the likes of Beastie Boys, Linkin Park, Swollen Members, Defari, Planet Asia and a co-production credit on Kanye West’s Grammy-winning, full-length debut The College Dropout.

The Los Angeles, CA-based emcee and producer’s 2007 full-length debut, The Weatherman, which was released by ABB Records, the long-time label home of Dilated Peoples featured tracks produced by Perretta, The Alchemist, Sid Roams (the production team of Joey Chavez and Tavish “Bravo” Graham), Jake One, DJ Babu, and DJ Khalil, as well as collaborations with the Dilated Peoples crew. However, by 2009 Evidence signed with Minneapolis, MN-based hip-hip label Rhymesayers Entertainment, who released his 2011 sophomore effort Cats & Dogs, an album that wound up being among his most commercially successful as it landed at #64 on the Billboard 200.

Evidence’s soon-to-be released fourth, full-length album Weather or Not is slated for a January 26, 2018 release through Rhymesayers is the first batch of new material since 2014’s The Alchemist-produced Lord Steppington, and with the release of the album’s third single “10,000 Hours” Evidence further cements his reputation as an incredibly dexterous and criminally unheralded emcee with the rhyme scheme in this particular track being ridiculous — all while discussing about how he spent time developing his own unique flow. With Evidence spitting over a swaggering DJ Premier production featuring squiggly synths, boom bap beats, a forceful bass line, samples from Snoop Dogg, Dr. Dre and GURU, the track manages to be a amalgamation of strutting West Coast hip-hop and stomping, menacing, old school East Coast hip-hop. But just as important, as I’ve relentlessly reminded readers of this site, real hip-hop, and not that prepackaged bullshit on your multinational conglomerate propaganda and advertising radio, is still out there if you’re willing to look for it.

Filmed and directed by Stephen Vanasco, the recently released video for “10,000 Hours” is a lush and cinematically shot black and white video in a number of gritty and underground Los Angeles sights before meeting with the legendary DJ Preemo.

Live Footage: Bilal and The Roots Perform Politically-Charged Single “It Ain’t Fair” on NPR Tiny Desk Concert

Currently comprised of founding members Tariq  “Black Thought” Trotter (vocals), Ahmir “Questlove” Thompson (drums), along with Kamal Gray (keys), “Captain” Kirk Douglas (guitar), Damon Bryson, a.k.a. Tuba Gooding, Jr. (sousaphone, tuba), Mark Kelley (bass), James Poyster (keys), Stro Elliot (production, sampling), The Roots can trace their origins back to when its founding duo met while attending The Philadelphia High School of the Creative and Performing Arts. As the story goes, Trotter and Thompson would busk on street corners — with Thompson playing bucket drums and Trotter rhyming over Thompson’s rhythms, and by 1989, the played their first organized gig at their high school’s talent show under the name Radio Activity.

After a series of name changes including Black to the Future and The Square Roots, the duo eventually settled on The Roots, after discovering that a local folk group went by The Square Roots.  As they were building up a local profile, the duo expanded into a full-fledged band with the addition of Josh “The Rubberband” Adams, who later went on to form The Josh Abrams Quartet; MC Malik Abdul “Malik B.” Basit-Smart, Leonard Nelson “Hub” Hubbard (bass); Scott Storch (keys); MC Kenyatta “Kid Crumbs” Warren, who was in the band for the recording sessions for Organix, the band’s full-length debut; and MC Dice Raw, who made cameos on later albums. And although the band has gone through a number of lineup changes since the release of their debut, The Roots throughout the course of their critically applauded, 10 independently released albums, two EPs and two collaborative albums have developed a reputation for a sound that effortlessly meshes live, organic instrumentation featuring a jazz, funk and soul approach with hip-hop, essentially becoming one of the genre’s first true bands. Additionally, throughout their lengthy history together, the members of The Roots have developed a long-held reputation for collaborating with a diverse and expanding list of artists across a wide array of genres and styles, revealing an effortless ability to play anything at any time.

Of course, unless you’ve been living in a remote Tibetan monastery or in a cave, The Roots have been the house band for NBC’s Late Night with Jimmy Fallon from 2009-2014 and for presently being the house band The Tonight Show Starring Jimmy Fallon, further expanding their profile into the national and international consciousness. And while being extraordinarily busy, the members of The Roots have been busy working on their 9th Wonder and Salaam Remi-produced 17th full-length album End Game, as well as contributing a politically charged track to the Detroit soundtrack, “It Ain’t Fair,” a collaboration with the renowned soul singer/songwriter Bilal.

Born Bilal Sayeed Oliver, Bilal is a Philadelphia, PA-born, New York-based soul singer/songwriter, best known by the mononym Bilal. Throughout his career, he’s received praise for his wide vocal range, work across multiple genres, his live performances and for collaborating with the likes of Kendrick Lamar, Common, Erykah Badu, Jay-Z, Beyonce, Guru, Kimbra, J. Dilla, Robert Glasper, Esperanza Spalding, the aforementioned The Roots and others with his full-length debut 1st Born Second, which featured contributions from Soulquarians and production from Dr. Dre and J. Dilla being a commercial and critical success, peaking at number 31 on the Billboard 200 charts and receiving comparisons to Marvin Gaye, Stevie Wonder, Sly & The Family Stone, Prince and Curtis Mayfield.  Although since then, the renowned singer/songwriter has developed an increasing reputation for his work becoming much more avant-garde and genre-defying.

Interestingly enough, Ahmir “Questlove” Thompson, Tariq “Black Thought” Trotter and Damon Bryson, a.k.a. Tuba Gooding, Jr. of The Roots and Bilal, along with a horn section went down to NPR Tiny Desk in Washington, DC to perform “It Ain’t Fair,” a deeply reflective song that thematically and lyrically makes a thoughtful nod towards Marvin Gaye’s What’s Going On?, Syl Johnson’s Is It Because I’m Black? and others, as its creators unflinchingly and fearlessly call out a societal construct that denies a group of people the equality, dignity and decency that they too deserve. The song’s creators manage to empathetically offer a glimpse into the hearts and souls of those who love this country and would like to stand for the flag but simply can’t until the evils of inequality, racism and supremacy no longer exist — and when this great country actually lives up the ideals it claims it stands for. 

As I mentioned on Facebook, I was recently in Philadelphia for business related to my day job, and as I walked from my hotel in Center City through Old City, past The Liberty Bell and Independence Hall, I recognized that I was walking on many of the streets that the Framers once walked on, as I’ve done several times before. I could picture ol’ Ben Franklin, Thomas Jefferson, George Washington, John Hancock, James Madison, Alexander Hamilton and so on, in their powered wigs and wool coats during that hot summer of 1776. And the song managed to remind me of the bitter and uneasy sadness I had begun to feel, remembering that the Framers, who could write about man’s inalienable rights given to him by God, didn’t see those same rights applying to anyone, who remotely looked like I do (or anyone, who wasn’t a man, or a property owner, etc.); that their independence, their revolution was never mine. The Declaration of Independence, the Constitution, the pledge allegiance to the flag just didn’t apply to me.

If I go back just five generations ago, my ancestors on both sides of my family were slaves. Five generations ago wasn’t that long ago in the overall scheme of things — we’re talking about the parents of my great-grandparents. And on the streets of the City of Independence, I thought of the unfathomable horror and suffering they went through to justify someone else’s desire to be superior — and naturally, the song reminds me quite a bit of a lifelong bitter pill that’s so very difficult to swallow. 

Comprised of Idaho Falls, ID-born and currently Portland, OR-based Aaron Chapman and Idaho Falls, ID-born and currently Los Angeles, CA-based John Bowers, the synth pop duo Nurses have developed a reputation for a creative restlessness with the project seeing several different iterations rooted in making the strange seem familiar and the familiar seem strange; but interestingly, that restlessness seems inspired by the restlessness that the duo bonded over in the first place. After leaving their isolated and predominantly Mormon hometown, the duo have spent time on a rural California fan, a van in Chicago and an attic in Portland before the members of the duo relocated to Portland and Los Angeles respectively. And naturally,  as a result the duo find themselves collaborating at a distance and through the internet.

Interestingly with the release of the critically applauded albums Apple’s Acre and Dracula saw the band receiving a growing national profile, as they toured with the likes of Stephen Malkmus and the Jicks, The Mountain Goats, The Tallest Man on Earth and others; but they also received attention after the A$AP Mob freestyled over the beatfreestyled over the beat from “You Lookin’ Twice” for Pitchfork’s Selector.

Since then the duo has developed a reputation for being reclusive; however, Naughtland which is slated for an October 7, 2017 release will be the first bit of recorded output the duo have released in over six years with the album’s titled being derived from a series of conversations the duo had during the writing and recording process about the origins of ideas and inspiration, and whether were generated internally or plucked like fruit from the street of some independent non-place. Reportedly, the material on the forthcoming Naughtland will further cement the duo’s reputation for plumbing the stranger depths of the human condition as the material thematically focuses on ephemerality and materiality, life and death, love and terror, the struggle for self in the duality of contemporary identity and so on, essentially admitting that life is confusing and complicated array of paradoxes and uncertainties — and that hell, that’s okay.

The album’s first single, album opener “In The Mirror” is arguably one of the strangest yet most accessible songs I’ve personally heard this year as the duo craft a sound and production that pairs swaggering, twitter and woofer rocking beats, twisting and turning synth chords, a lysergic-fueled guitar solo, R&B-like falsetto crooning and a soaring and anthemic hook that can be seen as celebrating the impermanence of life or celebrating nihilism. Sonically the song has been accurately described as a Dr. Dre-like production set in a David Lynchian nightmare — and that shouldn’t be surprising as the song possesses a feverish vibe.