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I don’t know if you’ve ever had this experience, but I’ve never met someone, shared music with them, and thought, “I’m going to make them the greatest Kanye/RZA/Premier/Pete Rock/Alchemist/Nujabes fan of all time”. The only artist I’ve ever been truly sure that I could find at least three to ten songs that could convince anyone of his ability has been Dilla. This is just one of many times I’ve tried to express what this breed of music does to me. And the crazy thing is most people never even try to put it into words. Think about that. I’ve heard this song in an absurdly diverse array of settings, time and place included, and it’s changed everything. If you know this song, you know what I mean when I say it changes everything. And to think what it must have been like for the conceptors. Dilla, the first time he felt he got it right? Common, the first time he heard it? Makes me want to barf simply based on the fact it’s something so much grander than thy self.

4:46

3.29.15

I’m still not sure if I’m doing it right.

This is easily the most excited I’ve been about posting a track here in a reaaaal long time.

This album is absolutely fucking crazy.

This is that drinking gin out of a wine glass at 2am shit

You must understand that this song is so good. Best intro-drop relationship you can ask for regardless of the day of the week. Pete Rock and Busta Rhymes. Certain books you may judge by the cover.

Rodney Jerkins (Darkchild)

Another year has passed since February 7th, 1974. Forty one years ago J Dilla became one of the newest citizens of planet earth that would go on to affect the lives of more humans than he would ever know. I’d like to say I’m at peace with the idea, but occasionally the acknowledgement that I’ll never see him live hits me hard. I suppose that’s all part of the legend. Instead, youths like JSWISS, Reek, Dobby Stones and myself choose to pay our respects through tribute.

It seems as though when a genre or sub-genre is first developed the early artists just try to push the the new territory to the extreme within the recently developed style of that genre. As time passes, artists, if they want to gain attention or acclaim, have to diversify. When enough artists are capable of mimicking the general sound, artists seem to get dropped into colander. The ones who have found a new path away from the root of the genre get noticed. Because when you create a unique sound, until someone else can match that particular style, there are no alternatives to your sound and yourself. It’s some Tom and Jerry-type [stuff]. They try to catch up while you try to widen the gap. And often times the genre benefits when one of its artists integrates his music with another genre. Consider electronic and hip hop and reggae and rock and roll.

I was never much into electronic. But if someone else put it on and it was accentuating the positive vibrations then I was a fan. It’s was the same for trap. Four years ago I wasn’t much of a fan. I think it’s because most of what I heard was still the pushing it to the limits. Kind of like a producer with a heavy metal mentality. But as time passed and I started hearing the creativity that was surviving through the Darwinian musical environment, I began to recognize how awesome it is to have your opinion of a genre changed. The result is my brain developing an appreciation for a sub-genre.

The above two paragraphs were an extended example of what I was thinking about when I heard this song. The information is this: Rolex Daytona, half of Foreign Vehichles (the other half is Maserati Boves),  remixed fellow Massachusetts artist Cousin Stizz’s “A-World”, a track originally landscaped on a Tee-Watt beat. I heard Daytona’s first and it fits the verbs, nouns and adjectives from Stizz’s thoughts like a glove on a hand of someone who prefers perfect-size gloves. That’s not easy an easy thing to do. Both versions are chill in the house, so if you have a few minutes today for a genuine music recommendation, I recommend listening to the music. Especially if you just read about it.

This is the best opening line I’ve heard over the recent year, 2014. If you want to understand history unfolding in front of your ears in 2015 when you listen to Rey Stackz‘ new project, The High, it would be good for you to listen to some or all of its predecessor, The Guide to Growth and Development.

If you only have enough time for 1 song: 

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