We are now talking about the man himself Roy Ayers.  In a time frame of almost 50 years (dating up until the present), Ayers has been releasing and working on projects spanning almost every genre of music. The handful of Roy Ayers sampled beats I have made in my day never got placed onto albums, but about 100 other producer’s beats have.  Ayers’ record “Everybody Loves Sunshine” alone has been sampled 35 times! (at my last count) Anyway, here’s a video I came across of the legend discussing his feelings on sampling.  The more I learn about this guy the more I become a fan, doesn’t hurt that he seems like the nicest guy ever…

Now on an only-related-through-sampling note, I also caught an interview today with the recently released DMX.  The direction his life has taken him in the last few years is truly sad, and when you listen to X’s lyrics as far back as his first album, you can easily detect signs of a very prominent dark side to the rapper’s life.  Its hard not to reflect on his recent path during this guest verse on Nas’ “Life Is What You Make It”.

Life is too short to get caught up on some dumb shit; Wake up, 40 years old on some bum shit…..Now realize that you ain’t got shit; Not long ago, you was the man, on some hot shit”

Damn reality is harsh sometimes.  The man did get caught up, I just hope his story isn’t over.  Anyway, the track contains a sample of Roy Ayers’ “Vittroni’s Theme” off of the soundtrack of the 1973 movie Coffy. Since this record isn’t much to really listen to, I threw in “Everybody Loves Sunshine” as well. Life is what you make it, let’s make it.

Roy Ayers – Vittroni’s Theme

Nas ft. DMX – Life Is What You Make It

Roy Ayers – Everybody Loves Sunshine

One of my good friends Pete Walsh, who has assisted me in many-a-Sample-Saturdays, hit me up late Thursday night with this entire entry written out in a BBM msg.  One of me and Pete’s all-time favorite verses, Scarface/3rd verse/”This Can’t Be Life”, was the perfect representation to real life for him, so this week is his…

Amidst the everyday hustle and grind of life it can sometimes become easy to forget what’s truly important and what really matters. We are all guilty of becoming consumed by work, social events, and the desire to reach the top…so much so that we sometimes lose focus on what makes life so great. This week a close friend of mine tragically lost his brother. Upon hearing the news, I was instantly grounded and everything else I had going on suddenly became so infinitesimal.  I reached out to my brothers (both biological and adopted) and let them know that I loved them and would always be there for them. I can’t even fathom the pain and hurt that the family is feeling now, but I hope that my friend can find some comfort in the fact that he has so many people in his corner looking out for him and praying for him.

I couldn’t help but go home and throw on “This Can’t Be Life” after hearing the news. I have always loved Scarface’s verse in this song, and on this particular listen the lyrics hit so close to home that I was overcome with emotion. The combination of ‘Faces raw emotion mixed with Kanye’s soulful production make this one of the most sentimental verses in hip-hop history. I encourage everyone to take a minute out of their hectic lives and reach out to the ones they cherish and let them know you love them.

Amen.  This IS life.  Peep 0:17 in “I Miss You”.

Harold Melvin & the Blue Notes – I Miss You

Jay-Z ft. Beanie Sigel, Scarface – This Can’t Be Life

I’m late, but I’m here, and feeling especially blessed this time around.  Sorry sample fiends for the delayed fix, but this weekend has been dedicated thus far to the presence of a new life in my world, my niece Maggie Elaine.  The music “game” tends to occupy my entire thinking sometimes and obscures my perspective on life, family, and those around me really going through the struggle.  My sister is healthy, my niece is healthy, and any problems of mine pale in comparison to those friends who may be fighting overseas, mourning the recent loss of a loved one, and simply trying to overcome the lack of opportunity they’ve been given from the start.  Battles in life like these are the focus of this week’s record courtesy of Nas and his onetime protege Quan.  I can’t always fight these battles for the people I love, or bring back those we’ve lost, but I can acknowledge my own blessings, and respect their present and past struggles with these words… this is just a moment.

Trapped in the game, not knowin’ how to stop and get by… To live it alive, so instead they live it to die.  Can we please have a moment of peace?” – Nas

As the case with many of my favorite Nas records, L.E.S. is on the beat.  The two bar sample only needed a little pitch adjustment to bring it up to a good speed for some introspective hip-hop.  The sample really does the work and clearly sets the feel for the record.  As the third single off of Street’s Disciple, “Just a Moment” left the biggest impression on me from the album, and provided a taste of what Nas is able to do often better than anyone.  Moment of silence, moment of respect, however you want to look at it, take some time to appreciate what and who we have in our lives.  Raise a glass EMPT’ers and ride out to this one.  Special s/o to the homey Luke Mesanko that I met at Noctambule!

Chic – Will You Cry (When You Hear This Song)

Nas ft. Quan – Just A Moment

In conversations amongst hip-hop purists, you will consistently hear Nas’ Illmatic near the top of people’s lists.  I’m certainly not knocking the undeniable classic that it is, but It Was Written was always my favorite Nas album, largely because of my obsession with “The Message”.  It was my Wu-Tang tape that introduced me to hip-hop, got us two properly acquainted, and built my appreciation for the art-form… lyrics first.  Next up was a few other albums, including Nas’ second.  The spacey guitar in the intro of “The Message” was something that I couldn’t get enough of, as I OD-ed on my rewind>play buttons (I let my tape rock ’till my tape pop).  It was the turning point for me as a listener, and from that point on the beat became my main focus.  It was also the first time that I wanted to know the origin of a sample, and somehow (with no google) I found out.

The Trackmasters, who produced the bulk of It Was Written, used the opening loop from Sting’s “Shape My Heart” to lay the foundation of what would eventually become one of Nas’ standout pieces of work.  The song starts with the loop fading in slowly, with a high pitched tremelo sound that follows the 4-chord progression, this is also used to layer the hook.  The Sting loop marches on throughout the record, and something about the progression gives it an endless quality that refuses to feel played out. The chorus features Kid Capri scratching in a few classic lines from Illmatic, probably the most famous being “I never sleep, ’cause sleep is the cousin of death”.  I have to pay homage to The Trackmasters for sparking something in my head with this beat that would eventually grow into a burning passion for hip-hop production.  So much that here I am talking about it week after week. Thanks for checkin in…

Sting – Shape My Heart

Nas – The Message

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

The 1966 film The Good, The Bad, and The Ugly was a classic western that tells the story of three men who dangerously pursue information about the location of a buried treasure of coins.  The three characters, including a young Clint Eastwood as Blondie (“The Good”), go through several different stages in their relationships with each other, always depending on how much they need the other person’s help in ultimately finding the gold.  The movie ends with the men in a three-way shootout, leaving one dead, and another left behind hanging by his neck.  Sadly enough, the plot somewhat reminds me of the relationships a lot of people maintain in life, and especially in business (and even more especially in the music business).  I’ve observed all too many times people that keep close ties with an acquaintance solely because of what they know they need from that person, and often when that need comes to fruition or expires, so does that relationship.  It makes me feel good to know that the people I surround myself with have an equal admiration for what we all bring to the table, and are working hard side by side to one day enjoy the gold at the end of the journey… together.  The truth to that statement allows me to use that some-what corny analogy with pride. Ha!

In one of the most epic theme song’s composed to date, musical genius Ennio Morricone masterfully arranges a piano, viola, string section, horn section, timpani’s, and breathtaking opera style vocals, amongst other things.  ”The Ecstasy of Gold”, as it was named appropriately for the movie, was chosen wisely by producer Charlemagne to sample for Jay-Z’s Blueprint 2 album.  The record, which held the same name as the album, was undoubtedly one of the standout track’s, and an extremely overlooked piece of the Nas and Jay-Z feud.  Charlemagne opened the beat with what sounds like a re-played piano part that runs at a slightly slower rate than the original.  Then at 0:21 he brings in the female vocal section, which is laid perfectly over the piano, and chopped and stretched in an arrangement that makes sense in the song’s 4/4 structure.  One of the Jay-Z tracks that for some reason you’ll hardly catch anyone talking about.  Leave it to us.

Ennio Morricone – The Ecstasy of Gold

Jay-Z – Blueprint2

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

(Wrote specifically for and about Et Musique Pour Tous)

Ok, let’s see…where did it start at?  Well it started in a high rise Manhattan apartment building overlooking the Hudson River…wait, who I am kidding, it started years and years before that.  My brother Hector has one of the most extensive musical minds of anyone I’ve ever met, and this comes from a lifetime of constant exposure and involvement in all things music.  I can’t count the number of conversations me and him and have had about sacrifice…sacrifice of many common place things to ensure we live for our music.  The songs that are chosen to be posted on Et Musique Pour Tous and the words that accompany them are a reflection of that type of lifestyle. After one of many common discussions with Hector that continued deep into the morning hours, I would often crash wherever my body shut down, and wake up to a new post on EMPT based on the same principles and theory of music we discussed, and any partly formed conclusions our exhausted minds came to.  This is music and life intertwined at it’s best…this is EMPT.

When things are brought about in such a natural way, it gives them a special quality that cannot and will not be duplicated.  As of late there have been some posers building sites directly off what their eyes see of Et Musique Pour Tous through their computer screen.  It’s too bad for them that this thing was built not just from a group of kids with a passion for music…but also an original idea.  And at the helm of that group of friends is somebody who’s life experience in music, in it’s entirety, built this website. Now THAT’s where it started at.

In true Sample Saturday form we shall still break down the Hi-Tek produced record “Where It Started At” featuring the all New York rapper lineup of Jadakiss, Papoose, Talib Kweli, and Raekwon The Chef.  The first chop of Andy Williams’ “Love Story” that we hear is from the 0:44 mark with him saying “where do I start?”.  The loop that follows that chop is used as the main section for the verses, with each one being split up by the sample “with her first hello” from 0:51.  Now breaking down a Hi-Tek beat is not as easy as many other producers’ work, because there are a lot of small horn and string chops taken from various parts of the sample, and slid into the sequence with grace and real expertise.  I always enjoyed how in many of his tracks including this one, Tek mixed his drums more contained in the beat, not popping out over the sample but more sitting comfortably with the sample. Something he does best.  New York is where it started at.

Andy Williams – Love Story (Where Do I Begin)

Hi-Tek ft. Jadakiss, Papoose, Talib Kweli, and Raekwon – Where It Started At