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Posts Tagged ‘erykah badu’

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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So Star Slinger has just dropped a bunch of new funky, chilly, electric edits. This one above is an Erykah Badu edit, and the one below an Anita Baker edit. There are two more beats in the set that we just have to wait patiently for.

FREE DOWNLOADS TO ALL AND TO ALL A MERRY CRIMBUS

star-slinger-iiiv

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So yesterday started off solemnly. Paul Peirce has officially left the Celtics. The end of an era. My favorite athlete since I was five years old. However, I find that grim times offer an opportunity to truly highlight the good things in life, many of which I have, one of which is Backdraft‘s continuation of his The Lost Soulquarian project. I had been thinking recently that my Erykah Badu collection is certainly lacking. Next thing I know I find a best of both worlds occasion lying at my feet. Backdraft remixes her first ever single “On & On” from her debut Baduizm album, which won a Grammy in ’98. If you’ve been enjoying The Lost Soulquarian project so far, Backdraft offer good news:

“I decided to make this project an “Open-Ended Project,” meaning the tracks you see now will be available and as the future tracks come, they will be added to the collection. I feel it’s fitting, because as someone influenced by these artists/producers I can’t hold a candle to them musically so leaving it as an ongoing project shows there’s always room for advancement on my part.”

See his previous installments here

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Us here at Beatspill share an opinion that Backdraft is a producer that would be undeniably successful if given a golden opportunity. I have wondered what he would sound like with the addition of some of the genre’s greatest talents and this is a prime example. The roots of this song start at Common‘s Electric Circus with his song, Come Close. J Dilla took that and remixed it with the addition of vocals from Pharrell, Q-Tip and Erykah Badu. From that, Backdraft steps in to create this remix of Dilla’s take. This is exactly what I didn’t realize I was looking for from him. I’ve never wanted a major artist to see one of my posts so badly. I hope we get more from The Lost Soulquarian soon.

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This just came on shuffle and I am compelled to share. It’s a live version of “The Blast” by Reflection Eternal featuring Erykah Badu. The production half of the duo, Hi-Tek, has his original beat recreated here by The Roots for Talib Kweli and Badu’s live performance in Dave Chapelle’s Block Party. The film, which was dedicated to the death of J Dilla, features acts including Kanye West, Mos Def, Jill Scott, Common, Big Daddy Kane, Bilal, John Legend, and The Fugees. Although I’ve listened to the soundtrack and seen clips, I have yet to see the full film, which is something that I should probably do if I desire a most-fulfilled musical understanding.

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