BeatTips Daily Favorites: "Nas Is Like;" Nas and DJ Premier

Chopping and Drumwork Again Sets DJ Premier Apart

By Amir Said (Sa'id)

The genius of the "Nas Is Like" beat comes down to how DJ Premier chopped up an otherwise light and soft harp-violin sample, and juxtaposed it with a hard 3-note bass line and a hungry drum framework.

Nas - "Nas Is Like;" produced by DJ Premier
(Easily one of my top seven favorite hip hop/rap songs of all time.)

Big Influence: Teddy Pendergrass

A Great Inspiration; Soulman of the Finest Grade

By Amir Said (Sa'id)

In my car's CD changer, there is one song that I have never removed...nor will I ever remove: "I Miss You," by Harold Melvin and The Blue Notes featuring Theodore Pendergrass. The talents and significance of Harold Melvin and the other members of The Blue Notes aside, Theodore "Teddy" Pendergrass is the reason that the song stays in my car's CD changer.

Of the many black American soul recording artists that I favor, Teddy Pendergrass has always been among the top five (or so) who have influenced my musical understanding the most. With a steady, stern, and unmistakeably masculine vocal styling, Teddy Pendergrass didn't so much as sing as he did croon. In spite of the fact—or, perhaps, because of the fact—that his singing voice was an unapologetically raspy-tinged bass cadence, Teddy Pendergrass cradled each lyric in a song, always mindful of his limitations but even more deferential to the soulful possibility of each note he considered.

I've always believed that Teddy Pendergrass' unique cadence was further enhanced by his uncanny mastery of any song's groove. Slow, mid-, or up-tempo, it didn't matter, Teddy Pendergrass would take the rhythm and groove of any song, and suspend its factual tempo, prompting even the most basic of arrangements to come much more alive and vibrant.

Here, I'm compelled to point out that Teddy Pendergrass, even as a bass-baritone vocalist, was a master of the "understated note." He never took more from a note than it could spare. Instead, he allowed each note to breathe on the terms of the lyric's poetics. Whatever the context, whatever the direction and depth of the song's lyrics, he would always conjure up the exact tone and feeling. Undoubtedly, Teddy Pendergrass' command of time, notes, and lyrics was due, in large part, to his abilities and training as a drummer.

Teddy Pendergrass has now passed. And although it is perhaps cliché to say that his music will still live on, I find solace in that fact; especially when I consider how far contemporary soul—or rather, "R&B"—has fallen.

Teddy Pendergrass - "My Greatest Inspiration"

Teddy Pendergrass - "My Greatest Inspiration" (Live performance)

Harold Melvin and the Blue Notes featuring Teddy Pendergrass - "I Miss You"

Beat Breakdown: Gorillaz - "Stylo"

New Music by Gorillaz feat. Bobby Womack & Mos Def Serves Up Yesterday Feel; 1980s Style Synth Construction Strikes Warm Chord

By Amir Said (Sa'id)

I have always admired the work of Gorillaz. And if "Stylo" is any indication, my admiration for the Gorillaz' musical creativity will likely continue.

"Stylo," the first officially released single off of the forthcoming Gorillaz album, Plastic Beach, is a jaunt down the 1980s synth lane. The core groove takes up two bars. It's dominated by a syncopated, four-note synth arrangement (can't tell if it's a sound module or VST...and that's a good thing) that bounces and struts for three consecutive measures, then "walks out" chromatically, before the collective phrases (all four measures, in sequence) loop over and repeat. As for changes, there's the long chromatic synth passage that reminds me of the 80s band, Flock of Seagulls. Also, various sound effects round out the assortment of changes that are intertwined with and added to the core groove.

The drums on "Stylo" are basic; there's not much going on in the drum framework, except for the syncopation found in the hi-hat hits and the occasional brushed snare hits. I suspect that Damon Albarn (the likely producer of this track) didn't want to rough up the well-defined landscape of the synth arrangement. Still, pedestrian drum framework aside, I did like the sonic pallet of the drum sounds that he chose.

The kick drum is barely noticeable, but it does its job as the anchor of the rhythm. The hi-hat, light and choppy, peppers the beat in the most unassuming manner. Finally, the snare—the most audible of all the drum sounds on "Stylo," as is often the case on most beats—is a straight-forward, electronic "rock" snare. Dope thing about the use of such a typical snare sound is that it always allows for the most effective mix. Here, the snare is allowed to breathe; it's not squashed and smothered by over compression, and the reverb sounds like its right in line with the snare sound, pre mix effects.

RZA Scores 'Afro Samurai Resurrection'

Weapons and Sensibility; Video Offers Rare Glimpse Into the RZA's Unique Creativity

By Amir Said (Sa'id)

I've always held The RZA in high regard, but after watching (studying) this video of him inside the studio, my respect for him has increased exponentially. In this rather extreme close-up look of RZA at work in his home recording studio, many myths and rumors—about the setup he uses—are dispelled. Indeed, in this video, RZA reveals the core combination of tools that he employs to make his unique brand of music. More importantly, RZA briefly (but thoughtfully) expresses key factors in his creative process as well as how he sometimes finds inspiration for his musical activity.

RZA in Studio for Afro Samurai Resurrection
(Please note. The volume is a little low on this video.)

'Copyright Criminals' Comes Up Short

Sampling Documentary Too Limited in Scope; Does Not Succeed in Illuminating the Sampling/Copyright Issue, and Fails to Flush Out the Meaning and Cultural Value of the Art of Sampling

By Amir Said (Sa'id)

Last night (Tuesday, January 19) PBS premiered Copyright Criminals, a documentary film based on the art of sampling and the complexities that surround it. Billed as the examination of the "creative and commercial value of musical sampling," Copyright Criminals is mostly off base and surprisingly limited in scope.

The film opens with a very predictable titles on black definition of sampling:
"Sample (v)
1: to use a segment of another’s musical recording as part of one’s own recording."

I found this definition to be very misleading and rather disturbing. What's the purpose and significance of including the description: "another's musical recording," and not simply "sound recording?" The art of sampling—in its most fundamental meaning—is less about possession and more about creation, style, and reconstruction of any recorded sound that appeals to the would-be sampler. So as to where the filmmakers received that definition of "sample," is unclear. However, it is clear, right from the start, that the filmmakers intend to frame their discussion of the art of sampling in a context of ownership rather than one of art and/or cultural significance. Although I expected the ownership context (given the name of the film), I was surprised by Copyright Criminal's otherwise lax coverage of the cultural and artistic context of the art of sampling. Note. Heavy screen time with drummer Clyde Stublefield, member of James Brown's band (1965-1970), was appreciated, but not at the expense of a more thorough exploration of sampling's origins in the hip hop/rap and beatmaking traditions.

The next thing that I find rather troubling about Copyright Criminals is the fact that the film does not attempt to draw a distinction between the art of sampling in the beatmaking tradition of hip hop/rap music and the current so-called “remix culture.” Instead, the film tries to (forcefully) situate the art of sampling as the nucleus of this remix culture. Wrong! The art of sampling does not come from, nor does it subscribe to, the parameters of remix culture (as first coined and described best by Lawrence Lessig). To be certain, the art of sampling—in the hip hop/rap tradition—is something entirely different than the “remix culture” of now. The art of sampling in hip hop/rap music is a direct outgrowth of the methods of early hip hop/rap DJs, a very critical distinction that Copyright Criminals mentions but fails to thoroughly flush out. Moreover, the film seems to ignore what the remix culture really is: the outgrowth of the combination of the outer limits of late 1990s hip hop/rap music, more advanced and accessible sampling technology, and the illegal download climate of contemporary culture. The latter component of this combination is never even raised in the film.

Copyright Criminals also features some rather curious interviewee choices.
Many of the interviewees (presumably drafted by the filmmakers for their expertise on the art of sampling or the legal complexities surrounding it) will be unfamiliar to most. More importantly, what was particularly disturbing was the absence of at least one hip hop/rap sample-based architect from the pioneering ranks that include: Marley Marl, DJ Premier, The RZA, Dr. Dre, Large Professor, Pete Rock (appears in a 3 second sound bite), DJ Shadow, Buckwild, Showbiz, Prince Paul, or the like. Indeed, some on-screen feedback from at least one of these pioneers should have been included. A discussion without at least one of them, or even a mention of them and/or their positions on and contribution to the art of sampling was, at best, irresponsible; at worst, it was negligent and reckless.

In fact, even just a bit of discussion with Just Blaze, or 9th Wonder, or some other post-pioneer sample-based beatmaker would have been more encouraging. And to be clear: I have nothing against DJ Abilities and Eyedea, or Sage Francis, or Miho Hatori, or Malmos (MC Schmidt and Drew Daniel). However, the question that begs to be answered is: What sort of informational reference point are the filmmakers trying to convey by featuring these particular artists (samplers)? Documentary films have the power of presumed authenticity. Thus, without any prior knowledge of the art of sampling, one might believe (assume) that these aforementioned artists (samplers) are indeed experts on or representative of the sampling field. Notwithstanding any of their talents or knowledge, however, they can not substitute for the 10 or so sampling architects that I previously mentioned.

I was also alarmed by the fact that the negative bias against sampling never seemed to be seriously challenged. Case in point is when Steve Albini (musician/recording engineer) rants against the art of sampling, using the very tired and superficial assessment of sampling as a “lazy” method of musical creation. Albini comes off as both an music elitist and someone who's clearly uninformed about hip hop culture, the hip hop/rap music tradition, and the art of sampling. In speaking about sampling he says:
“As a creative tool for someone to use a sample of a piece of existing music, for their music, I think it’s an extraordinarily lazy artistic choice. It’s much easier to take something that is already awesome and play it again with your name on it.”
Right. As if that’s really what the art of sampling is about.

The fact that the filmmakers chose not to include even one interviewee to directly address or counter Steve Albini's claims was rather disappointing to me. Moreover, to add insult to Albini’s woefully uninformed statement, right after he's done speaking, the film cuts to an image of MC Hammer winning an award for the song “Can’t Touch This” (1990), a song that uses a prominent sample of Rick James’ hit song, “Super Freak” (1981). This is an incredibly frustrating moment in Copyright Criminals, as here, the film seems to imply that not only is Albini right, but also that Hammer’s use of “Super Freak” personifies what the art of sampling is all about—as if that’s the only and most fundamental form of the art of sampling in the beatmaking tradition of hip hop/rap music. And notwithstanding MC Hammer's commercial popularity, the film makes absolutely no effort to give context to viewers as to who MC Hammer was or his position in the hip hop/rap lexicon, or even how his use of sampling wasn’t even necessarily respected by his peers in 1990. Unfortunately, however, if you're unfamiliar with who MC Hammer is/was, which is the case for most current 13 to 30 year-olds, then this point is lost. But to perhaps give you context I'll say this: Using MC Hammer to personify the serious art of sampling is like using Diddy (Puff Daddy) to personify the serious art of complex lyricism.

Finally, as for the "copyright" spectrum of Copyright Criminals, there is much left to be desired there as well. I expected the film to include some discussion of what American copyright law and policy is. I mean, at least something on what the code of the Copyright Act actually says—especially as it pertains to sound recordings—was certainly warranted in a documentary of this nature. Unfortunately, there is no direct discussion of current American copyright law or even a brief break down of the original intent and purpose of American copyright law. Furthermore, although pivotal sampling infringement cases and suits are casually discussed and/or alluded to in the film, we really get nothing more than a glimpse of De La Soul's trouble with The Turtles, and Biz Markie's and Warner's problem with Gilbert O'Sullivan; we don't get the real picture (details) as to how De La Soul's and Biz Markie's predicaments affected the perception of the art of sampling and the subsequent legal policy towards it.

The Bottom line

Though there are some areas in Copyright Criminals that I found engaging and, at times, somewhat encouraging, (specifically the segments with media professor, Siva Vaidhyanathan), overall, the film just flat out disappoints. The fact that this documentary tries to (forcefully) situate the art of sampling within the new, supposedly grander "remix culture" is not only unfair to the chief architects and pioneers of the art of sampling, it's an utterly absurd gesture to hip hop/rap culture in general, as it implies that hip hop is a part of remix culture...not that remix culture itself is, in part, an outgrowth of the outer fringes of the hip hop/rap music tradition.

Furthermore, Copyright Criminals avoids delving deeper into the meaning and origins of the art of sampling, and how it might be reconciled with the original intent and purpose of American copyright law and policy. Indeed, make no mistake, Copyright Criminals is squarely focused on the art of sampling within an ownership (property) framework, not the context of artistic innovation or even the cultural parameters from which sampling was born. Because of this, the film comes off just as bland as some of the re-hashed, uninformed arguments made against the art of sampling. As a result, Copyright Criminals actually fails to illuminate the legal complexities surrounding sampling, and it offers no solution to or even a thoroughly clear scope of the problem associated with sampling and copyright law.

Jay Electronica - "Exhibit C" Live Performance (Video)

Live Performance Gives New Meaning to "Exhibit C;" Encouraging to See Crowd Move to Soulful Tune

By Amir Said (Sa'id)

Hip hop/rap shows usually pack the stage with guests, and for his recent live performance of "Exhibit C," Jay Electronica's stage was no different. Flexing is muscle as a highly respected artist/lyricist, Jay Electronica was able to bring the likes of Diddy and Mos Def to the stage—both enthusiastically playing the role of hype men.

But alas, for me it's the music that draws me into this performance. The DJ let's the source material (the song that Just Blaze sampled for the track) play for an extended period, before allowing Just Blaze's re-interpretation to drop. At this point, the crowd is enthralled with the essence of soul music. Soon after, an amped up Jay Electronica chimes in with the aggressive but eloquent rhyme.

Considering the last couple of shows that I've been to, this one looks like a might've been worth the cover charge.

Jay Electronica - "Exhibit C" Live Performance (Video)

Jay Electronica Calls On Diddy to perform "Exhibit C" from Mikey Fresh on Vimeo.

BeatTips Daily Favorites: "Liquid Swords;" GZA/RZA

RZA Uses Customized Sound Stabs to Make Unique Soundscape; Slow Dragging Composition Gives GZA Room to Breathe

By Amir Said (Sa'id)

As far as my favorite hip hop/rap songs go, "Liquid Swords," by The GZA and The RZA, remains steadfastly in my top five. It is truly a genius piece of work.

The song starts with a clip from a martial arts film—a non-music intro that clocks in at about 1 minute and 20 seconds. The movie clip dissolves into the atmosphere of a down-home juke joint, complete with a slow, intoxicating soul rhythm and party-goers talking out loud to the music. Next we hear RZA as a teacher, reminding us,"Sometimes we gotta flash 'em back, cuz niggas don't know where this shit started." And then, the kick and the first sound-stab drops, right when RZA and GZA—in the natural unison of family—both begin with the chorus: "When the M.Cs.s came, to live out they name..." Incredible.

From my first listen to the last, what impresses me the most about "Liquid Swords" (from a beatmaker's point of view) is the way in which RZA plays the truncated sound stabs that he's sampled. First, these sound-stabs, which are some sort of multi-layered guitar strum, are untraceable. There is no one who could ever accurately identify the source music RZA used to sample them from, which means that RZA guaranteed himself an one-of-kind, original, bonafide custom sound. Second, RZA plays the sound-stabs like he's strumming them right off the guitar of a Stax records session guitarist. Third, the bass-sound stab that RZA layers with the guitar sound-stab is pitched at a level just low enough to boost the punch of the guitar licks. The result is a sonic impression that makes the track sound ever so sinister and menacing...like a big ass sign that reads: "Hip hop/rap frauds enter at your own peril!"

***EDITOR'S NOTE (1/23/10) Recently, it was brought to my attention that the sampled sound-stabs that the RZA "played" were actually NOT sound stabs at all, but instead, a 3-second measure of the sounds played in chromatic succession. I closely listened to the original alleged sound source and "Liquid Swords," and there is no doubt in my that the sounds on 'Liquid Swords" came from this record. Thus, although RZA did indeed program the sample, it is likely that the sample itself was not cut into individual sound stabs and replayed. Side note: As is the case with a number of beats, sometimes what you thought was individual stabs actually turn out be the arrangement within the original sample. Either way though, "Liquid Swords" is dope. Good job, RZA and GZA.
— Sa'id***

Finally, there's the drums. If you've ever studied RZA's beatwork then you know that RZA usually tucks his drum sounds in the mix, and he never overstates their volume. In the case of "Liquid Swords," that's exactly what's going on. But I should point out that even though the kick is indeed tucked, the kick pattern that RZA uses is a syncopated assemblage that sets up the snare, then "hugs" it wherever it lands in the measure.

As for the rhyme...The GZA never disappoints. On "Liquid Swords" GZA's lyrical confidence shines, and his lines merge with rather than cut through the soul and the smokiness of the composition. In fact, GZA adds a sort of drawl and sustain to each word in every bar, closing each measure with a rhythm that snaps in line with the turnover of every snare hit.

Indeed, for a lesson in "out of the box" hip hop/rap music, be sure to study "Liquid Swords."

For example...

The GZA - "Liquid Swords"

The GZA - "Liquid Swords" (Official music video)

Statik Selektah, '100 Proof' Promo

Beatmaker Uses Cosigns from Music-Making Peers to Promote New Project; Album and Marketing Move Could put Stakik Selektah in New Spotlight

By Amir Said (Sa'id)

Statik Selektah used to be a slept-on beatmaker. But after a couple of years of consistently grinding out quality beatwork and a "bulls by the horn" approach to marketing and self-promotion, he's poised to become a household name in the new decade. For his upcoming full-length project, 100 Proof, the Boston-bred, Brooklyn-transplanted beatsmith has enlisted several critically acclaimed beatmakers to co-sign his work. This is a genius move, as it will likely reassure those—who are not familiar with Stat's work—that the music is worth investing in.

Statik Selektah - 100 Proof featuring Saigon, Styles P, Evidence, Red Cafe, Royce Da 5'9, Talib Kweli, and more. Available, February, 2010

Jewel Droppin': Reefa

Custom Measures for Custom Sounds

By Amir Said ("Sa'id")

Sa'id: Do you use the 8 outs on the MPC?
Reefa: Yeah, I use the 8 outs… The 8 outs are important… The drums gotta sound good. Everything’s gotta have its own place. With the 8 outs you can EQ each drum separately… I EQ each drum before I go into Pro Tools. Then I EQ them again once they’re in Pro Tools. ‘Cuz once it goes into Pro Tools, it’s a little lighter. You lose some of the signal. So in order to make it back how it was or better, you gotta add a couple of plug-ins to make it sound right.

Sa'id: When you track, do you track directly into Pro Tools or do you use a board and from there go into Pro Tools?
Reefa: I go into the board, (the Mackie 32/8), then I go into Pro Tools, (Digi 002).

Sa'id: How do you begin your beats? Do you start with the drums?
Reefa: Yeah, sometimes, it all depends. I make sure the drums is right. Sometimes I’ll do three, four sequences of drums, whichever one I’m feeling I’m-a go with, then I add the music on. Sometimes I go with just the music, then I add the drums on top of it, after.

Sa'id: I have a bunch of drum patterns already made…
Reefa: Yeah, that’s what I do…Like in the 4000 [MPC], I got like fifteen drum programs. I like the 4000 because you can use 120 different drum programs on one sequence…basically, you got all your drums on hand.

*Excerpt from exclusive interview with Reefa. Interview conducted by Sa'id for BeatTips. More excerpts of full interview first published in The BeatTips Manual, 4th Edition

Music Download Thieves Come Out of the Shadows

New Site, FreeAllMusic.com, Offers Free Mp3's in Exchange for Watching Single Video Commercial; Majors to Get Back Some of their Mojo

By Amir Said

What would happen if the Titanic-size hole in the music industry’s business model was suddenly plugged up? (Stick with me, now…) What if illegal music downloading—file “sharing,” the ever-growing thorn in the music industry’s side, was abruptly and extensively halted? Would that mean a return to the “old music industry?” Would that mean that so-called A-list artists (read: machine-sponsored) could again look forward to pre-Napster sales? I would imagine that there are some delusional music executives and insiders holding out hope for this sort of return. But alas, they need not pine for the glory days of the music industry—those are never coming back…or aren’t they?

Cue in FreeAllMusic.com, an upstart music download site that just may re-shift at least some of the brainwashing power back to the major record companies. FreeAllMusic.com, which dropped a test version in December ‘09, and is gearing up for a full public beta launch sometime this month or early February, allows users to download songs for free—sans the usual “restrictions.” In other words, users who use FreeAllMusic.com will be allowed to copy and share the music that they download.

Of course, the music isn’t actually “free” on FreeAllMusic.com…somebody pays. Users pay with their eyes and time; companies pay with money from their ad budgets. Here’s how it works. For each download, FreeAllMusic users will have to watch a 15- to 30-second commercial advertisement. But the fortunate twist here is that they get to choose—from a list of about 12 ads (brands)—which commercial they want to view. After users select the ad (brand) of there choice, the chosen company then pays for the download.

Encouragingly enough, two of the big four record labels have already signed on with FreeAllMusic. And even more telling, a number of major “micro-sponsors” (those who actually pay for the downloads), including Coca-Cola, Zappos, LG, Powermat, and Warner Bros. Television, have also gotten on board. But will FreeAllMusic’s service model be enough to convince a substantial number of self-conscious illegal music downloaders to come out of the shadows and get legal? Why not! FreeAllMusic's services doesn’t require any software to be downloaded; moreover, the downloads that they will offer are shareable and will work on both Apple and PC devices.

If FreeAllMusic pulls it off, and I think that they will, there will be three seismic aftershocks felt around the world. First, Apple’s gorilla grip monopoly over music downloads will certainly be weakened. Sure, some will clamor about not wanting to watch a 15- to 30-second clip before they download music. But I suspect that there will be many more reasonable people who will recognize the value of getting something they want for free. Not to mention the fact that for the relationship to the “sponsors” who buy the downloads for them, FreeAllMusic users further stand to gain other possible perks, in the form of giveaways and product discounts.

Second, FreeAllMusic’s blueprint will become the new online music marketing model. Successful companies know that marketing and advertising dollars must be spent, if they’re to have any chance of getting their message out or real shot at competing in their particular industries. However, the ROI on ad dollars is notoriously hard to measure; often marketing dollars are tossed in to the wind, with no real way of tracking whether ads are working or not. FreeAllMusic’s model will allow companies to put their pulse on which ads are working, follow where their ad dollars are actually going, and, most importantly, get a rare window into how and where their money is returning.

Finally, with the success of FreeAllMusic, the major record companies will undoubtedly be able to get some of their mojo back. For more than 30 years, the major record companies were able to count on the impulsive buying power of teenage music lovers. But P2P technology helped transform teenage “buying power” into teenage “stealing power.” This caused a leak in the music industry's hull that continues to hemorrhage sales and profits til this day. Now comes FreeAllMusic with something akin to a giant hole-plugger. Thing is, the majors could care less who’s paying for “their” music; just as long as somebody’s paying, their happy. And what the FreeAllMusic model does is that it takes the honor-system approach to buying music downloads from out of the hands of teenagers and early 20-somethings—the groups who are by and large recognized as the chief culprits of illegal music downloading, and, it places the guaranteed-purchase system approach to buying music downloads into the hands of major corporate entities, who, less we forget, are well-capitalized and certainly capable of handling the cost of 99 cents a song. Thus, the majors will never see the sales horizons of yesteryear. But with the promise of FreeAllMusic.com, they'll at least be able to move out of the ER and salvage some of yesteryear's twilight.