First off, the Geto Boys album cover is one of the rawest ever. After a long night of drug abuse, member Bushwick Bill shot himself after his girlfriend refused to do so.  This photo was taken after he was brought to the hospital and was used for the album – insane.  On to the music… The Geto Boys are one of the most influential groups in rap history, and along with groups like UGK, put Southern hip-hop on the map.  The group changed members on more than one occasion, but found their most success with members Bushwick Bill, Willie D and Scarface (the real“King of the South”).  In 1992 they released their single “Mind Playing Tricks on Me” which reached number one on the charts and cemented the Geto Boys place in hip-hop history. Packed with paranoia, violence, and hallucinations, the song features some of the haunting storytelling of which the Geto Boys became known for.

The song features a sample from Isaac Hayes’s “Hung Up On My Baby”, a track where Hayes shows off his arrangement and composing ability which made Black Moses one of the greatest musicians ever. Laced with Hayes’s alluring guitar riffs, the Geto Boys turned his gem into a classic of their own.  The sampled record contains so many ill loops, there is enough material to make 5 dope beats, at least.  The Geto Boys use the loop at 0:10 for the main sections of the verses, and then the loop at 0:29 for the hook, which contains a melody catchy enough to whistle along with.  I mean, who’s fucking with Isaac Hayes when it comes to providing samples for classic hip hop records… no one? (P.Walsh / K.Casey)

Isaac Hayes – Hung Up On My Baby

Geto Boys – Mind Playing Tricks On Me

via KevinCaseyMusic and Et Musique Pour Tous

Before Ice Cube was acting in children’s movies, he was the head lyricist of the most notorious hip-hop group to ever do it, N.W.A.  After Cube split from the legendary crew, he launched a successful, and controversial solo career that has featured 9 albums, and countless guest features with every major player in hip-hop. Cube’s versatility has allowed him to remain relevant as hip-hop has drastically evolved since the 1980s.  On “It Was a Good Day”, Cube exhibits another aspect that has made him a legend in the game; storytelling.  Here he explains why this particular rap story was different from the rest…

“The inspiration was my life at the time … I was at the top of the rap game. It was the summer of ’92 and I was in a hotel room, really in a state of euphoria. I had all the money I had dreamed of. I was in a good frame of mind. And I remember thinking, ‘Okay, there’s been the riots, people know I will deal with that. That’s a given. But I rap all this gangsta stuff – what about all the good days I had?”

The Isley Brothers have been sampled on countless records, but “It Was a Good Day” is certainly one of the flyest of the batch.  The sampled song “Footsteps in The Dark” provides a stellar groove right from the beginning of the record, that left little to be done as far as sample manipulation.  The loop is continuous, and along with a few other obscure chops, it provides the appropriate background for a great story.  The lead guitar riff tells a story on its own, and together the sample and lyrics are the perfect match.  Also, can’t forget the visual for this West Coast classic (P. Walsh/K. Casey).

The Isley Brothers – Footsteps in the Dark

Ice Cube – It Was a Good Day

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The same day New York City witnessed the fall of the Twin Towers, Jay-Z released his masterpiece The Blueprint. Facing two criminal charges, one for gun possession, the other for assault, as well as beefs with Nas, Prodigy, and Jadakiss, the odds were certainly stacked against Hov. However, as he is known to do, Jay triumphed with his back against the wall and set a new bar for any rapper dropping an album for the next decade. The Blueprint sold 426,000 copies in one of the most chaotic weeks in American history, eventually went double platinum, received an “XXL” rating in XXL Magazine, and a “5 Mic” review in The Source. A certified success.

“One of the greatest poets ever to pick up a mic released his magnum opus in 2001. One retirement and one un-retirement later, it’s still his finest hour.” -Entertainment Weekly

Production wise, The Blueprint is a pure gem, and one of the most perfectly constructed hip-hop albums of all time. During the late 90’s, producers shied away from using samples in their music due to copyright issues and the popularity of synth heavy beats grew.  The Blueprint brought back the sampling sound and established Kanye West and Just Blaze as two of the best producers in the game. On “Momma Loves Me”, the lesser known Bink goes in with a classic Al Green sample and some brilliant drum programming.  I really like how the first eight bars of the record are laid out. First we get to hear the drums on their own, made up of a banging kick and rimshot combo plus a deep 808 every other bar to rattle the system.  Echoes of Al Green chops come in to play on the fifth bar, and then on the seventh we hear the chop that really defines the feel of the beat.  On the vocal end, Hov recalls how he got to where he is and thanks everybody that has helped him along the way, a fitting ending to an epic song-by-song journey through the mind of Jay-Z.

By: Kevin Casey and Pete Walsh.

Al Green – Free At Last

Jay-Z – Momma Loves Me

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Since I left you guys hanging last weekend, I figured I would throw in an extra Sample Saturday Day for you to enjoy.  This comes courtesy of myself and my writing partner in crime, Pete Walsh.  (I see you Roy)

Melvin Bliss, who passed this week, was a relatively obscure and unknown singer during the 1970’s. However, his throwaway B-side, “Synthetic Substitution” became one of the most important records in hip-hop history. The impact of this record on hip-hop is unparalleled. Equipped with an instantly recognizable drum break, the song has been used for over ninety tracks (yes ninety), including popular joints such as Naughty By Nature’s “O.P.P.” and Public Enemy’s “Don’t Believe the Hype”.  Bliss never found great success during the time of his career, and it wasn’t until roughly 20 years later that, to quote the song, “Synthetic Substitution has taken over this land.”

When it came to the “chopping” of this record, there was really not much science to it except to lift the infectious drum break and loop it up to the desired tempo. Among the ninety plus tracks that sampled this break were two classic joints from two classic groups.  First we have the Premo produced “DWYCK”, which is a beat created entirely of these drums and Premier’s signature scratches.  Our second choice to post is the opening track off the almighty 36 Chambers. As you would expect, RZA brings in the break in an unorthodox way, cutting certain kicks out of the sequence to give it his own groove.  No matter how the break was flipped, it always provided for banging drums every time it was used. Melvin Bliss may fade into obscurity in the wide scope, but will remain forever relevant in the hip-hop community.

Melvin Bliss – Synthetic Substitution

Gang Starr – DWYCK

Wu-Tang Clan – Bring Da Ruckus

Before the South really “came up” and started their domination of the hip-hop charts, Scarface was holding it down for H-Town like a true OG.  There are a few dudes in the industry that command a certain level of respect from their peers that is unanimous, Face being one of them.  My favorite of his albums is his seventh, The Fix, which gave him the most crossover exposure with singles such as “My Block”, “In Between Us” featuring Nas, and “Guess Who’s Back” featuring Hov.  As a southern artist in 2002, only Scarface had the respect from the industry to land such heavyweight guest appearances, especially ones from the East Coast.  Jay-Z talks over the 16 bar intro of the record, as the suspense builds leading into his verse.

“Guess who’s bizzack?  Still smell the crack in my clothes, don’t make me have to relapse on you hoes.”

As far as the production, it was one of Kanye’s first classics, even getting a shoutout from Jay.  Yeezy masterfully used the first four bars of “Sunrise” by The Originals to create a powerful 16 bar sequence with drums reminiscent of Dr. Dre’s “Xxplosive”.  The first bar of the sample is looped for twelve bars, the third looped for the next three, and then finally the fourth bar is sampled to finish up the sequence, accented by Kanye’s snare/clap eighth notes.  Beans and Scarface sound great on the same record, and Jay spits a memorable verse even for his standards.  As a DJ, the record is a good pick for any party as it seems to gain a positive reaction from club goers and hip hop heads alike.

The Originals – Sunsire

Scarface ft. Jay-Z and Beanie Sigel

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As far as Wu-Tang solo albums go, I would have to say that Supreme Clientele is among the top 3.  The beats are crazy throughout, and although RZA only produced 4 tracks, you can hear his overall influence as executive producer.  His hand in the mixing helped the production from lesser known beat-makers achieve the certified Shaolin sound.  Sonically it is a true Wu-Tang album, achieved through a solo project, as was the case with Only Built For Cuban Linx.  Supreme Clientele was released in 2000, but clearly carried over the energy that was 90’s New York hip-hop.

“One” was produced by JuJu, and is simply made up of a loop from the 1:04 point of “You Roam When You Don’t Get it At Home” ending with the one. Using the same sample in a more involved way, one of my partners Dub Sonata created a track for a Double A.B. record based on a true story called “Dedication.”  Dub makes use of some other high potent segments, such as 0:46 which has the title of the song being sung first as a solo, second with harmony (he uses both parts).  Listen for small vocal chops from 0:11 and 0:16 being blended in at various moments, plus the sequence at 0:25 to switch things up arrangement wise.  To top it all off, Dub uses the one sample to end each hook.  Get all that? I’ll refrain from explaining the other ten chops he used.  That’s why he’s one of the illest when it comes to the samples. His full-instrumental album, Nights In Cuba is being released on iTunes this fall.

Sweet Inspirations – You Roam When You Don’t Get it At Home

Ghostface – One

BONUS: Double A.B. – Dedication [prod. Dub Sonata]

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As I mentioned in my last Otis Redding post, I still find it hard to believe that this man died at the age of 26…amazing.  The impact he was able to have before his death is historical.  This record is just classic soul, as the name of the album states.  It’s downtempo with minimal music complexity, and maximum feeling.  I’m also not opposed to putting a pretty female on the cover of an album, I can most definitely dig it.

Otis Redding – I’ve Been Loving You Too Long

I thought of this record today thanks to my friend Michelle, and have now re-entered it in the regular rotation.  This was one of those few relationship records from an artist that is able to pull it off while maintaining his edge. Another record from this time period that I put in that category is DMX’s “How’s It Goin’ Down” which came off of one of the hardest albums ever released, It’s Dark and Hell is Hot. Method Man could rap about anything and make it sound good, these verses being a great example. D’Angelo gives the chorus a Brown Sugar touch, completing the record perfectly.

Method Man ft. D’Angelo – Break Ups 2 Make Ups

BONUS: Stylistics – Break Up To Make Up

I certainly chose a bad time to stay in last night, as Capone and Noreaga both stopped by CV Lounge where Scram Jones holds it down every friday, and where you can usually find me as well.  My dude Cutthroat was there too, CNN’s official DJ and also one of the most genuine dudes I’ve met in this business.  Anyway, with The War Report 2 coming out in a few weeks (July 13th), I figured I would go back and touch on one of the many samples that helped create the original.  In my mind The War Report is not only a classic album, but also a project that changed the direction of East Coast hip hop when it was released in ‘97.  In the years leading up to it’s release, rap had started to get over consumed with surrealistic and mostly fictional mafia tales, known to many as mafioso rap. Capone and Noreaga brought it back to gritty street narratives, and unapologetic stories of drugs and guns.  The beats, the mixes, and the lyrics throughout the album have a rugged feel that won’t ever be matched by any present day project.

“If your heart stopped beating, I’ll go back in time.  Make your heart beat again, real niggas ’till the end…”

My favorite record on the album (ok, maybe one of my 3 favorites) is “Live On, Live Long”, which is Noreaga’s dedication to his partner.  Rap records with this level of raw emotion simply can’t be found anymore.  The bulk of the beat is built off of the loop from the beginning of “Who’s Gonna Take The Blame” by Smokey Robinson and The Miracles.  The quarter bar taken from the 0:25 mark is used sometimes at the tail end of the loop, along with the Smokey vocal riff at 1:11.  This record has never lost it’s edge with me, and I don’t think it ever will… it’s just too real.

Smokey Robinson & The Miracles – Who’s Gonna Take The Blame

CNN – Live On, Live Long

On friday night, I rolled to CV Lounge with my brother Scram Jones while he did his DJ thing, and shut down the club as usual.  Around 2 a.m. Kanye came through and played 4 records from his new album. The music was inspiring, and the vibe in the small lounge was very unique, and dare I say “sexy.”  After Plain Pat dropped the new records, he then played a set of Rocafella classics, including many Kanye productions.  The music took over completely, as Yeezy, Kid Cudi, and many others sang each song word for word, creating an incredible energy throughout the club.  It was a celebration of good music, and I popped out of the booth for a minute to be a part of it.  The moment that stuck in my head besides the new Kanye records, was during the Yeezy and Cam collabo, “Down & Out.”

Kanye provides the hook, and the beat of course.  Move forward to the 1:33 mark of “Strung Out Over You” and you will hear the segment used for the intro of the song.  The sample builds up until the beat drops with two horn stabs.  Yeezy chops things up to perfection to create the main section of the beat which flips back and forth between two separate 2 bar pieces.  Cam’ron gives the song that Harlem swag, and Syleena Johnson lends her voice to the hook to complete the record.  Now that Killa Cam is back on the scene, I would love to hear another project with him and Kanye.  Its that 1970’s heroin flow.

William Bell & Mavis Staples – Strung Out Over You

Cam’ron ft. Kanye West – Down & Out