Archive for the ‘-Old School’ Category

Despite a plethora of Camp Lo tracks in the recesses of this site’s library, I must admit that this writer on Beatspill is not well versed on the verses of this duo.

I come here today to tell you to not be like me, and take too long to hear their 1997, New Yorkian charms.

In the beat I get RZA on the nose, with suggestions of Nujabes.


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So it’s been a good minute or 1500 since I’ve listened to De La Soul‘s Stakes is High all the way through. This morning I did, over a nice cup of mocha coffee staring at the Lisbon skyline. A strange mix no doubt. Stranger, though, was the fact that I had hitherto failed to recognized the obvious similarity between De La’s “Dinninit” and one of my favorite all time classics, Large Professor‘s “Ijustwannachill.” Now I’m confused. Which one is actually my favorite all time classic? The sample is way too good to not obsess over either. I think I like Large Pro’s rocking chair chill vibes more though. Which side do you line up with?

The sample: Milt Jackson – “Enchanted Lady”

De La Soul – “Dinninit”

Large Professor – “Ijustwannachill”

If you like them both you can now play them together on the radio!

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Off Champion Sound.

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Off of Soundbombing III. 

It’ll be on the show tonight, sometime between 6-8pm

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They try to execute Snoop but it doesn’t work.

image tagged in gifs | made w/ Imgflip video-to-gif maker

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Just came across this supergroup, and I’ve been listening to the near-20-year-old mixtape non stop.

Children of the Corn is Big LCam’ronMase, McGruff and Bloodshed.

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Another lesson in street life that hopefully no one ever has to deal with, though you don’t always notice that you have to watch out for the pretty girls.

You know what they say, “Sex is blinding”.

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Walkin’ the other day. Heard this.

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This may be the cockiest song ever made, but also one of the greatest. It features a hip, 22 year-old RZA producing, rapping and singing, doing so repping the name Prince Rakeem. This came out in 1991, two years before Enter The Wu-Tang, meaning he made a huge musical transition in a very short time period.

Ooh We Love You Rakeem,” although fairly simple, sounds ahead of its time musically.  The beat is jazzier and hipper than a lot of the boom bap hip hop being released at the time. The rapping, as trondon notes, appears inspired by Big Daddy Kane as is fairly standard-sounding for the time period.

A couple of trondon and my favorite lines:

I’ve got too many ladies, I’ve got to learn to say no!”

Woman: “Ohh we love you Rakeem!”
Rakeem: “Do you?”

NOTE: Watching the music video makes this track a million times better.
NOTE #2: I wonder what RZA’s music career and life would have become if he never joined Wu-Tang.

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This song is perfectly perfect. After umpteen listens, I cannot find a single thing wrong with it. Everything is on point.

I’ve been digging into Erykah Badu‘s discography since returning for Winter Break and I can’t stop listening. I’m obsessed to the extent that it’s hard to listen to anything else without itching to return to the smooth, absorbing music that describes Badu’s essence. She has such a grasping voice and a vibe you can’t refuse. With J Dilla producing a beat for her, nothing could be better. Dilla takes a more modest, less experimental, jazzy approach when working with Badu. I’ve come to appreciate more and more Dilla’s ability and willingness to adapt to the style of music the artist he is working with employs.

Erykah Badu delivers some incredibly interesting inside information about what it was like to create with Jay Dee. If you’re a Dilla fan this monologue, as she talks about “Didn’t Cha Know“, will be fairly fascinating:

I went to Detroit to work with this cat that I heard a few tracks from that drove me crazy. Common took me over there, we went down to the basement, Common left and Dilla and I sat and talked. He had records wall to wall like it was a public library and he goes, “OK, I want you to look for a record.” I’m looking through these organized, tightly packed crates, and I just pulled out one record and the artist was Tarika Blue. I liked that name. I put on the first track [“Dreamflower”] and I fell in love with the song and I kept playing it over and over again and I said, “I want this.” He showed me how to loop a small part of the bassline, he was very generous in teaching you and letting you be hands on. Then I left the room and when I came back he had looped some drums to a small sample of the song and I started to write to it. I came up with the Ooooh, heeeey melody. I wrote for a few days and then the song came to be. I’d hike down to his house in mittens and a scarf. I just kind of stayed down there and worked until we got the things the way that I liked.

My songs sound different from everyone else’s Dilla songs. The sound is a little bit more bass heavy and the frequencies are definitely different than most of the songs he does, because it’s his world. But when he allowed me to come into his world, it became another kind of world. I think he allowed everybody that kind of space and that kind of freedom because he was so super creative that he would go onto something else while we learned the first part. He was ultraviolet, cosmic, dark. He went to aeronautics school so of course he was a mad scientist mathematician. I don’t know, you can’t really dissect what he was.”

You can read more Dilla stories at The Fader

If this track is particularly familiar to you but not because you know this song, it is likely because J. Cole heavily sampled it in his song “Too Deep For The Intro” from his mixtape Friday Night LightsUntil I made the fairly obvious connection between the two, I had never considered what a J. Cole – J Dilla collaboration would sound like, but “Too Deep For The Intro” is a great song and that is with Cole using one of Dilla’s chiller beats. J. Cole can handle much more upbeat vibes. I’d imagine they could come up with a creative duo name like Cilla Js, or something, too.

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