My big brother Scram Jones has been putting in overtime lately on possibly his most overlooked talent out the triple threat [Producer, DJ, MC].  Scram the Rapper put out a brand new mixtape this week called The Hat Trick, showing off his bars while as expected also handling most of the production.  Download and listen.  I’m not sure how this guy remains not only relevant, but at the top of the game on the boards and in the booth, and still can find the creativity to come up with rhymes like the ones on this project. Hat’s off to him.

Scram Jones ft. The Alchemist – Collision Course

So those that stay up on the now in Hip-Hop, or have twitter, probably are aware that the Boss Ricky Ross suffered two separate seizures yesterday, both that caused emergency landings for the flights he was on.  Luckily for the Hip Hop genre, he is ok and scheduled to perform tonight in North Carolina. With that said – this dude is flat out leaving a real legacy through his music, not just putting out records, but really cementing himself in the history books, writing his story day by day and telling it on wax.  Running his own label on one major, and being signed as a solo on another.  Signing two artists from regions under-represented in Hip Hop, and putting them on the major stage.  Boss moves.  Hate if u’d like.

Musically, the man picks beats as good as anyone, and like the homey Buckwildmentioned on twitter once, he should start a beat-picking consultation service for some of these taste-less rappers in the game. Lyrically Ross talks about the street/party/good-life, and he’s got that whole lane on smash these days. The whole thing.  ”He’s killed everything he’s been on since 2009″ one of my boys accurately claimed to me the other day.  And for the New York sector of his haters, here’s Rozay over some Alchemist drums, the type of instrumental you probably think he can’t hit.  Rapping back and forth with his young gun Meek Mills.  Oh yea, Sample Saturday… chops courtesy of “Jet” by Paul McCartney & Wings. Long live Rozay the perfectionist.

Paul McCartney & Wings – Jet

Rick Ross & Meek Mill – Perfectionist

Biggie.  Few conversations lately amongst friends honestly made me think and really consider how much talk about Biggie is people paying respect and how many people are reallllly taking in what dude was saying; to us.  Even though unanimously considered a legend, in the majority of fans top 5 dead or alive… are we still sleeping on Biggie.  I’m thinking so.  In my opinion no hip-hop artist was ever so far ahead of the rest in style and persona.  A friend of mine actually got genuinely mad at me last night for the accolades I was giving Jay-Z over B.I.G.  Another friend of mine who lives in China told me that an experience at a club recently rocking to “Get Money” – while in a Biggie T-Shirt – was one of his all time highs.  Ha.  His influence won’t die so these reminders led me to decide this had to be a B-I song.

I’ll keep it a-hundred with you guys I never heard this original sample until today.  Pretty obvious that the pitch was thrown up way high, and the 8 bars were turned into a hook.  I have to say the original is a cool record (“Dying to Live”), I actually was enjoying the beginning even more than when the sample came in at 0:38. The whole concept of the hook with the rhetorical questions honestly confused me a little when I really tried to make sense of the lyrics.  But then it all added up when Edgard Winter ends it all by saying “You know I’m dying to live until I’m READY TO DIE”. Brooklyn.

Edgar Winter – Dying to Live

Notorious B.I.G. & 2Pac – Runnin’

This week we have something special for you guys.  EMPT and KevinCaseyMusic got an exclusive interview with one of the pioneers of the art of sampling, the one and only Buckwild…..

I know loyal EMPT go-ers pride themselves on knowledge of music, so if you’re not already familiar with this legendary producer, this is a great introduction.  Buckwild was a major contributor to the 90′s East Coast sound, commonly known as hip-hop’sGolden Age. During that time he accumulated a streak of classic records for Biggie, Jay-Z, Nas, Big Pun, and everyone else who mattered to New York rap. I’m serious,everyone (for real, everyone). As an original member of the Diggin’ In The Crates crew, some of Buckwild’s most famous work was done with the late-great Big L, including his first ever single, “Put It On”…

“When the guys at Sony heard what we had done for L’s first album, they felt like we didn’t have something to use for a single, and sent L back in to do 4 or 5 more records.  He came to my crib and I gave him about 5 beats, one of those being “Put It On”.  Being the perfectionist that he was, it took him a few days to write his verses.  Then he called me up and had everything planned out for the “Put It On” record.  He knew it was gonna have Kid Capri on the hook, he knew what the hook would be, and he knew it was gonna be the single.”

I asked what it was like working with Big L in the lab…

“He always had all his verses prepared perfectly.  He was a cool guy to joke around with and shit but when in the booth the dude meant business like no-one else.  He was so competitive when it came to his music, like… he would constantly ask what I thought, “Yo, if you don’t like it tell me.”  That was a attitude that the 3 Big’s had – Big L, Biggie, and Big Pun – they were never ‘know it alls’ in the studio, and that’s what made them great.”

Because this is Sample Saturday, I had to stick with the formula, and ask Buck about the construction of the beat…

“Beats were flying out quick those days man, I think I made that one that weekend, and then L picked it up that week.  I always liked the Buster Williams record, I would play it while I was just bullshitting, cleaning the studio or whatever.  I always had the whole vision of what I wanted to use before I put the sample in the machine, I got to know the samples very well.  I think I used 4 different sections to create the beat.  As far as the drums, I would always know the sound I was looking for, I had it in my head.  That’s what a lot of these guys don’t understand, you can’t just put any drums to a sample… that’s the key to a successful beat, the tones have to match.  The Skull Snaps break was perfect, so I threw that into my Akai 950, and put the Buster Williams chops into my sp1200… and that was that.”

A few years ago I was lucky enough to work in the same studio as Buckwild, and got a lot of these type of stories first hand. He’s a great teacher, humble person, and obviously an ultra talented producer. Many of Buck’s beats were behind my motivation to make my own, and for that I am very grateful, and I couldn’t think of anyone I’d rather have involved in one of these posts.  Look out for some future Buckwild/EMPT announcements, and take the time to learn more about some of his classics in this Complex article from April.  Until next time folks…

Buster Williams – Vibrations

Skull Snaps – It’s A New Day

Big L – Put It On

via EMPTNYC

First of all shotout to the Click The Square box for taking up an hour of my time when I should’ve been getting right to work on this post.  Damn that shit was fun.  Anyway, let’s discuss one of the thousand reasons that make New York City the best city on earth.  The scenario is; a super crowded nightclub, no one in the place looking less than fresh to death, beautiful women in every direction you turn your head, a few Yankees in that corner, a few actors in that corner.  Scram Jones is on the set with the crowd in the palm of his hand as usual, some type of rock/house remix has the energy level at a 10, and only a few records later he drops in the full intro of “Come Thru” by Nore and Styles.  Not only does the energy remain at a 10, but people seem to get even more excited as the beat drops, and somehow the most unassuming characters, judging by looks, are “singing” along…

“Here’s why they call me the Ghost, I’m half live – half dead, and when there’s beef I bring all of the toast.”

Yea, those characters are the native New Yorkers.  And their energy is enough to convince those who don’t know what a Styles P is, that this is the shit, and it’s time to get fuckin’ hyped.  A few records later, the tempo is way up and the party goes on into the night.  Yes, that just happened in a high class club, and this makes sense only because that club is in the heart of New York City.

One of my favorite things about sampling in hip hop is when an original sample takes on an entirely different feel when flipped by the producer, and in many cases turned into a dark soundscape for some hard raps.  When standing on it’s own, Percy Faith’s “Early In The Morning” has a very upbeat and calm aura about it, but when used by producer Edward Hinson in “Come Thru”, it has an eerie and almost scary vibe to it that matches the lyrics and ultimately makes that record so effective.  On the intro and in between verses he uses the 4 bars from 0:12, and then for the verses we hear some hard drums over the beginning of “Early In The Morning”.  Definitely one of the records that I most regret not squeezing onto Live From New York.

Percy Faith & His Orchestra – Early In The Morning

Noreaga & Styles P – Come Thru

via EMPTNYC

I’ve been pretty good lately at getting rid of unnecessary clutter in my life… giving away clothes I don’t wear, and mostly just recognizing worthless and unusable possessions as, worthless and unusable.  In volume and weight, I’m pretty sure half of my remaining belongings are records.  For several reasons this is a category that I refuse to downsize, ask Dub Sonata or any other record collector, they understand. Thanks to producer No I.D.’s record collection, today we have possibly the funkiest tune to make it onto the EMPT stage.  Larry Ellis & The Black Hammer’s “Funky Thing Part 1″ was printed onto only a few hundred 45′s back in 1969.  The very appropriately titled record bursts out the gate with a B3 solo that captures the sound of the Hammond organ unlike any other recording of its type.  That squeal must be what caught No I.D.’s ear, especially after the quick riffs kick in.

“Let that bitch breathe.” -Jay-Z

The “Success” beat is simply started with the opening of “Funky Thing Part 1″, and as the organ slowly growls it’s way to the high note we hear a quick piece of dialogue from American Gangster. The first time the organ starts to move into the sixteenth notes, is when No I.D. programs in his first kick drums, which blend perfectly with the snare that is built into the sample.  His choice of kick and snare for this beat in my opinion is what made it work, by somehow matching the rawness of the B3.  Makes sense since No I.D. packs some of the roughest drums chops in the game (a la “D.O.A.”). We also have to acknowledge that Hov opens up his verses with an obvious interpretation of Eminem’s “I’m Back”.  If only my organ plugins sounded anything like this sample.

Larry Ellis & The Black Hammer – Funky Thing Part 1

Jay-Z ft. Nas – Success

via EMPTNYC

In true 4.20 fashion, this post is being made on 4.21.  Who’s putting in more work right now than Dub Sonata?  After the wide spread success of Nights In Cuba, Dub is back already with another highly potent instrumental project, Bluntitled.  It’s the musical equivalent of that kush/sour/purple haze L. Anyway, you already know EMPT got the exclusive release, ’cause thats how we move.  Check out the title track below, and support the man himself by purchasing the 5 track EP on iTunes.

Dub Sonata – Bluntitled

First off, ya Gangster is cosmetic.  Fresh out D&D Studios in 2003 was Gang Starr’s last album The Ownerz, which was their 6th.  Their first album was released in 1989, yes the 80′s, and some of the records were recorded as early as ’87.  Through the evolution of a growing genre, Gang Starr saw their way through 14 years of in your face, East Coast grit.  With this genre that we speak of basically running the media world, the late Guru was still left unmentioned during this year’s Grammys.  Huh?  I disagree with that personally.  Since I live and breath music with my peers every day, I gain extra respect for those that did the same years before me, and shaped the sound that creatively I interpret and interpolate. Yup, that’s exactly what I meant.  Exhibit A – “Rite Where U Stand”.

Respect first then money, basic shit.  You got niggas under pressure, you can take they shit.”

As in a perfect scenario, Jadakiss takes his talents to this record.  His verse always stands out to me when thinking of the ‘Kiss classics.  Bring that back.  And of course… Primo on the beat.  The intro to The Temptations “Gonna Keep On Trying Till I Win Your Love” gets the hard chop treatment, definitely can’t say anyone does it better.  The chop at 0:05 flip flops with the piano from 0:02, and the drums stretch the swing limits.  Hip Hop professor Premier pinpoints “Your ganster is cosmetic” from QB’s Finest “The Bridge 2001″ and scratches in a verbal punch to the hook.  This record dares the listener to step up to the level of the music, and really go to war.  It’s good to know that my partner, and the EMPT general is tryna get it over quick, leave you rite where u stand.

The Temptations – Gonna Keep On Trying Till I Win Your Love

QB’s Finest – The Bridge 2001

Gang Starr ft. Jadakiss – Rite Where U Stand

via KevinCaseyMusic and Et Musique Pour Tous

Shotout to everyone and anyone checking in on my site, and reading up on my Sample Saturday’s sponsored by Et Musique Pour Tous.  Take my bias into account if needed, but my brother Hector Mendoza Jr.’s EMPT is steadily moving towards being the best music blog on the PLANET.  Keep a musical edge, and learn new records through Hec’s knowledge and overall musicality.

You think positive thoughts and act upon them and you will get those type of results. Yet some insist on associating the negative perception as reality, I don’t know what the point of that is.”

Embrace something that challenges you, join the EMPT movement.  Hec, it’s yours kid.

I know this has been out, but I didn’t fully connect to the place this song came from until now.  And all I can say is, wow Jimmy.  I think the concept of a Perfect Day is one of the best, ever.  I said it.  The harmonies on the hook musically speak volumes towards what this record stands for.  I think in years to come, people will still be discovering this song and making it a topic of conversation.  Jim Jones is onto something.

“I got a fool proof plan to make a couple of mill, and I think it’s gon’ work today”

Jim Jones – Perfect Day