Brother Reade's 'Rap Music': Some Potential; but Far Short of Robust Title

If you name your album after a music genre—specifically, "rap music,"understand this: People will expect a lot from you. Either Brother Reade knew that, and sincerely believed that their debut LP, Rap Music (2007), packed the material to deliver on those high expectations, or, as I suspect, they were directly answering critics who question their legitimacy. Thing is though, critics are best answered with solid material, not incredibly bold album titles. And, unfortunately, although there are a few brights spots on Rap Music, the album falls way short of the expectations that the header directly implies.

For starters, Jimmy Jamz is more than capable as a lyricist. He comes off as comfortable and content with his rhyme abilities. However, far too often on Rap Music he's weighed down by Bobby Evans restrictive, bounce-less programming, which includes stuck drumwork that's low on swing and high on a patchwork of similar sounding simple drum patterns. For instance, on "The Marcie Song," a standard rapper's opus to a turbulent youth and family life, Jamz gets out ahead of the beat and never comes back to it. Here, Evans would have been well-advised to remix the tune with a track that could handle the style and flow of the rhyme.

Things aren't all bad, however. On "Everywhere I Go," to me, the standout of the album, Evans appears to reach for the roots of the beatmaking tradition, drawing on a clever use of rupture, structured cuts, and well-timed drum rolls. What's more, on this track Evans employs a magnificent rapidly-looped bass sequence that serves as the perfect context for Jamz to flow naturally over. Then there's the song, "Like Duh," the official lead single off of Rap Music. "Like Duh" has the most bounce and movement of any other track on the album. And aside from the stellar "Everywhere I Go," "Like Duh" sports a very confident and relaxed Jamz on the mic.

But apart from "Everywhere I Go" and "Like Duh," the album is pretty much an exercise of Jamz trying to hold up the mostly flat beatwork of Evans. In fact, by the time you get to track 12, ("Like Duh" is intentionally buried at 11), the album seriously collapses, extending examples of Evans' mostly dull and dreary, slowish-tempo electro-like beats.

Bottom line: Brother Reade's Rap Music offers a couple of glimmers of hope. Jimmy Jamz' rhymes are stable and at times thought provoking; and Bobby Evans demonstrates that he can bring quality beatwork to the table. However, what does this effort in is the unequal-ness of the rhymes and the beats. On this album Evans seems to be caught between going after a polished sound and staying true to the sound context of fellow NC native 9th Wonder. The result is less than impressive, and, unfortunately, not always easy to listen to, in particular because so many of his beats sound pretty much the same. However, that being said, I do give props to Evans for demonstrating that he could bring some decent beats...I just would have preferred that he did that more consistently, especially on an album called Rap Music.

Listen to Brother Reade, Rap Music here.

— Sa'id

Dope Music: "History" Produced by J Dilla

What's dope about any J Dilla interest is the fact that he's increasingly being recognized for: samples, ruptures, loops, and soul—hip hop. Just as with DJ Premier, Pete Rock, and Large Professor, a study of J Dilla brings you back, fundamentally, to the study of soul music. That being said, listen to this joint "History" by Mos Def and Talib Kweli—one of the best beatworks I've ever heard by J Dilla. It's subtle yet direct and defiant at the same time... And yo, as you listen to this, ask yourself: Would this song have gotten any real strong reaction five years ago and why?
—Sa'id

Here's a sneak peak of the music video...

Finally, if anyone really believes that "live" renditions of hip hop/rap originals are co-equal, check this out. It "seems" to be comparable, but notice how much the "feeling" and essence of J Dilla's beat is missing.

One Stop Shop Producer Conference Set for Vegas

Report by Sa'id (Amir Said)

The 4th Annual One Stop Shop Producer Conference (OSSPC) has been announced for 2010, and it appears that this time around team Sha Money XL believes that OSSPC (the most respected of all the producer-/beatmaker-themed music conferences) will benefit from a change of scenery. Indeed, 2010's conference is set to be held in Las Vegas, NV rather than Phoenix, AZ, the city which has hosted the OSSPC since its inception. I suspect the low hotel rates and the buzz of Vegas was just too much to ignore for OSSPC planners. Moreover, I think that they recognize (wisely) that a host city like Vegas has the potential to double (if not triple) their average attendance.

2010's OSSPC will tout an awards ceremony as well as expanded panel discussions and, of course, OSSPC'S famed beat battle. Furthermore, of all of the producer-/beatmaker-themed music conferences, OSSPC consistently attracts the largest number of critically acclaimed beatmakers (producers). Hence, I expect OSSPC Vegas to have the largest number of well-known beatmakers (producers) ever assembled under the same roof all at the same time. Finally, there's no word on how much registration will cost for 2010's OSSPC, but based on previous OSSPCs, expect to pay somewhere in the neighborhood of $250-$350. No confirmed date has been officially released, but if you intend on attending, consider the fact that previous OSSPC events have been held sometime between March and May.

For more information on One Stop Shop Producer Conference—Vegas, go to: www.DreamBigVentures.net

Genius of The Beat: "Doors of Your Heart"

For this installment of 'Genius of The Beat,' I really wanted to show their range, so I'm droppin' a song of theirs that was much more slower-paced than their usual up-tempo fair. Off of their album Wha'ppen? (1981), their second of (unfortunately) only three albums, "Doors of Your Heart" is a reggae-fused love ballad with all of the ska and pop pomp that The Beat (The English Beat) were so apt at incorporating. Truly an example of the group's collective genius, here again in "Doors of Your Heart" we see an excellent cross fusion of ska, reggae, soul and, of course, jazz.
-Sa'id

Jewel Droppin': True Master

As told to Sa'id*

"I sample off of records, sample CDs. I got live drummers that let me sample snares and kicks. I’ve sampled off of T.V. programs, anywhere that I could find a snare or a kick... One of my greatest inspirations and mentors is a brother named, Eazy Mo Bee. He taught me a lot with drums. ‘Cuz really, drums is the essence of the sh*t. You can have the illest sounds in the world, but the drums gotta have a certain feel to ‘em, you know what I mean. They gotta hit a certain way. Drums is the pulse and heartbeat of the whole sh*t. I give credit to Eazy Mo Bee, as well as RZA, for inspiring me. But Eazy Mo Bee was the one who definitely showed me how to get ‘em tight. He used the SP 1200. I never used the SP 1200, but nevertheless, I learned a lot from him. How to truncate sh*t. He showed me tricks…
With hi-hats and snares, volume changes… If you take your kick, and let’s say, you copy it, three times, then lower the volume on one kick, then keep one volume the same, then lower the volume on one. So it’s a three-hit flow. One hit is softer, one hit is milder, you know. That’s one of the tricks… Adding an echo to one hi-hat is another trick. There’s gotta be some unique ingredient while you’re doing your beats. ‘Cuz a lot of times it’s more of feelin’ your way through it, as opposed to knowing exactly where you want to go!

*Excerpt from exclusive interview with True Master. Interview conducted by Sa'id for BeatTips. Full interview first published in The BeatTips Manual, 4th Edition

Dig Spots: A1 Records, NYC

A1 Records, one of the most known "unknown" dig spots in New York City. Here's a look at what it looks from the inside.
—Sa'id

The Belly of the Beat from Gasface on Vimeo.

Don't Touch That Dial: Radio Ain't the Radio Anymore

By Sa'id (Amir Said)

In case you haven't noticed, radio broadcasting is increasingly losing its influence over the general public's music listening (and buying) decisions. In his rather organic and illuminating study, author and Wired Magazine Editor-in-Chief Chris Anderson notes that "in 1993, Americans spent an average of twenty-three hours and fifteen minutes per week tuned in to the radio;" and that by the spring of 2004, that figure "had dropped to nineteen hours and forty-five minutes" (a 15% decline), bringing traditional radio listenership to a "twenty-seven year low." To be certain, traditional radio listenership continues to spiral downward. In fact, if the current rate of decline simply holds up, 2009 will show an 8% decrease in traditional radio listenership. This means that since 1993, there will have been at least a 25% nosedive in traditional radio listenership—a rather precipitous drop, to say the least.

Where Have All the Traditional Radio Listeners Gone and Why

There are many reasons why radio listenership continues to decline at such a rapid pace. Radio behemoth Clear Channel and its one-size-fits-all radio centralization—what Anderson rightfully regards as Clear Channel's bland homogenization—has indeed played a role. And we can not overlook the fact that the increasing lack of artistry found in the music industry-pushed "hits" has also prodded some music listeners away from the radio. But these factors represent the under card. The main event—if you will—is choice and variety.

Remember when we "heard it on the radio?" Well, yeah, that was back when we really had no choice. Let's remember: Traditional radio represents the old “hit” music model of narrow choice and low variety; no choice or variety meant that you had to listen to the radio and whatever traditional media deemed as a hit. But the web age has truly brought more choice and variety through a myriad of more music listening options. With the expansion and popularity of the internet as well as the advent of the must-have iPod and other MP3 players, many traditional radio listeners peeled away from the radio and moved towards those options that, in effect, allowed them to be their own personal radio programmers.

So Who’s still listening to the radio?

Whether due to unchecked arrogance or denial, broadcast radio culture has failed to see the writing on the wall. Indeed, instead of opening up their programming and shifting to a more variety-based structure, radio stations (particularly in the urban market) are pairing down their playlists, essentially walling them off from the threat of any real variety. So entrenched is this culture that many of the same household radio personalities from 1993 are still on the radio in the same regional markets. This certainly begs the question, How can the very people who have been behind the wheel during the decline in radio listenership still be given the keys to drive broadcast radio towards new horizons? The answer, of course, is: They can't!

In fact, I would argue that many of these held-over radio personalities have been left in place just to cater to those music listeners who have yet to escape the traditional radio programming model. After all, if there is as much as 75% of the once-mighty radio listenership, one can understand why the grand old music industry is still supporting the old radio model. For the music industry—which is seemingly dedicated to bleeding manufactured formulas dry—is always the last to know when something new has emerged, and something old has died.

(1) Anderson, Chris, The Long Tail: Why the Future of Business is Selling Less of More, (New York: Hyperion, 2006), 35.

Fast Tracking: How My Mackie Mixing Console & Akai MPC 4000 Saves the Day

By Sa'id

Readers familiar with my setup know that I'm a staunch supporter of a mixing console-based tracking system, as opposed to a computer-based tracking system. Now, don't get me wrong. I have nothing against software or a computer-based tracking system, I use Pro Tools, so I certainly use a computer (Mac user to the fullest). However, I do NOT like to track just two tracks at a time, nor do I go directly into my Digi 002 interface from the outputs of my gear! Instead, I go through my Mackie (32 channel) mixing console first, then from there I go into the Digi interface.

Usually, when I make beats, I never utilize more than 8 tracks. This works out well, since the Digi 002 only has 8 ins (8 individual Inputs). However, lately, I'm finding that I using 9 to 11 tracks per beat. I think the additional tracks are a result of a new percussive strategy I've been developing for a while... So anyway, last night I was making this beat that had 9 tracks. Come time for tracking into Pro Tools, it was no problem. Why you ask? Because of my tracking system and MIDI Beat Clock!

Now, the big debate about whether to use the main outs or individual outs usually comes down to one supposed 'trick question': If you use the individual outs, how do you track a beat that uses more than 8 tracks? Typically, that question stumps most. However, my setup actually presents a simple solution. Let me break it down...

Tracking More Than 8 Tracks, Using a Mixing Consoled-Based Tracking System

I route EVERYTHING through my 32 channel Mackie board: that's my Akai MPC 4000, Akai S950, Roland Fantom S, Numark DM 1200, and my Tascam CD-RW901SL. When it comes time for tracking, I simply route the first 8 tracks of the beat into the Digi 002. Specifically, I go from the direct Outs of the Mackie into the Ins of the Digi 002.

Inside of Pro Tools, I go to:
Setups> MIDI Beat Clock>
Enable> Port I
MIDI Out Port I

Then inside of the MPC 4000 I go to:
MISC.> SYNC
In the SYNC IN, I set the Mode to: MIDI Clock
Then in the SYNC out I set the MIDI In to "On", and I set the MIDI Out to "A", (reason being, I'm triggering my S950 with the MPC 4000).
Finally, I set SYNC to "On".

Having done this, when I'm ready to track into to Pro Tools, I press "3" to record, and Pro Tools automatically triggers my MPC 4000. It plays and records instantly! After I've recorded 8 tracks, I simply hit "return" on the computer keyboard, which takes me back to the beginning of the beat. From here, I just arm (setup) new tracks for recording, assign the corresponding input, then press "3" again. The whole beat plays again, only this time, it records just the tracks that I have armed. Thus, theoretically, a 4 minute song with 16 total tracks, only takes me 8-10 minutes to track out completely.

Beat Kangz Announce $30,000 Beat Battle

Beat Kangz Electronics has brought together producer Rockwilder and online hip hop publication XXLMag.com to set off what just may be, at first glance, appropriately called, the "King of All Battles" beat battle. Being billed as the "internet's biggest beat battle," the Beat Kangz "King of All Battles" is said to reward one new producer a $10,000 cash prize as well as a write-up on XXLMag.com. According to Beat Kangz, other included prizes raise the total cash value of the 1st place win to $30,000.00. Although this may sound good, of course there's a catch.

Upstart gear manufacturers Beat Kangz Electronics, makers of the Beat Thang and Beat Thang Virtual, have implemented a number of rules for this beat battle. For example, "ALL ENTRANTS MUST USE A BEAT THANG or BEAT THANG VIRTUAL to create their tracks so the playing field is level." Also, "producers must use Beat Thang sounds, or they "may use original Beat Thang beatz, presets, or monthly Rockwilder beatz. Furthermore, in order to participate in the battle, producers are required to "purchase a BEAT THANG or BEAT THANG VIRTUAL and register on BeatKangz.com" as well as "create a profile on the BeatKangz.com Kangdom Community."

Clearly this beat battle is a promotional contest for the new Beat Thang and Beat Thang Virtual. Nevertheless, $10,000.00 cash is $10,000.00 cash. But with a ticket price for Beat Thang set at $999.00 and $149 for Beat Thang Virtually, prospective contestants will essentially be paying at least a $149 entry fee! Is this fair? That's not up to me to decide. That being said, however, a beat battle that restricts beat creation to just one (or two) beat machines is not really a complete battle. I mean, I know it's their beat battle (contest), but I'm not exactly sure how using only one manufacturer's production tool levels the playing field. In fact, if Beat Kangz really wants to get the full brunt of promotion, my advice is to open up the competition to all beatmakers (producers), using ANY production tools. And if an entry fee is a factor, I recommend that they simply charge a $149 (or substantially less) for an open entry fee.

Anyway, for more information and the complete list of the contest rules, check out:
Beat Kangz' "King of All Battles" beat battle.

-Sa'id

Should You Audit Club Music? Not Doing So Akin to Professional Malpractice

By Sa'id

Even before hip hop/rap’s current club-pop driven music scene, DJs and beatmaking pioneers (most notably Marley Marl, pictured in the right) made their names in radio by spinning the records that were popular in local clubs. But it should be noted that in this capacity, DJs are not only charged with giving the people what they want, they are also responsible for breaking new records, (or leading the people if you will). Therefore, beatmakers (the direct descendents of DJs) who intentionally disregard popular radio, and/or the popular mood and tastes of the time, are perhaps ignoring one of their fundamental responsibilities: To survey both historical and contemporary trends in music.

Now, of course, I’m certainly not advocating that beatmakers should make an immediate mass exodus towards contemporary radio-style music (the club-pop sound aesthetic). On the contrary, I’m making the point that by ignoring the ethos of popularity (on perhaps its most dominant level), a beatmaker runs the risk of missing the opportunity to get the pulse for what’s happening now. And without a pulse on what’s happening now, a beatmaker is subject to fail in the prospect of incorporating the best historical elements of hip hop/rap music with the best of the current elements. Indeed, if a beatmaker can not reconcile some of the most important elements of hip hop/rap and beatmaking of the past with some of the most important elements of the present, they will be less likely to come up with any “new” sound or distinguishable style.

Point is, just as most quality beatmakers study the beats of other quality beatmakers, it is important for beatmakers to also at least audit (survey and listen to) some of the most celebrated hip hop/rap music of the past as well as those musical developments that are generating the most buzz at any given moment in the present. And I must note that this audit should not be carried out just to see if the music is “good” or “bad,” but instead, to determine exactly what sort of musical components average music listeners are and are not responding strongly to. By doing such audits, you’re in a better position to change those things that you may deem to be whack, as opposed to simply turning your back to the problem and offering no solutions or a better way forward.