Another great hip-hop mystery is laid to rest. The melody on “Shook Ones Pt. II” by Mobb Deep comes from “Jessica” by Herbie Hancock, performed by V.S.O.P. on the The Quintet live LP.

Update: Hawkeye from the Soul Strut forums has deduced that Havoc actually sampled the original version of “Jessica” from the Fat Albert Rotunda LP. Listen here.

Bronco of the The-Breaks.com forums made the discovery, most likely in a scene resembling the end of Indiana Jones and the Last Crusade. “Shook Ones Pt. II” is basically the definitive New York rap record and the sample has long been a mystery among rap nerds. When I asked Havoc about it in May, he said couldn’t remember,

You know, they ask me that all the time. I can tell you like this. One of the samples in the song is from a Quincy Jones record … The piano is from a jazz record that I sampled. I forgot what it was by now, but it was a jazz record that I chopped up and did two different pitches and pressed them on the keyboard.

Sure enough, the melody is instantly recognizable when you pitch down the piano on “Jessica,” as demonstrated by Bronco Hawkeye.

To recap, the siren at the beginning comes from “Kitty With The Bent Frame” by Quincy Jones, the drums come from “Dirty Feet” by the Daly Wilson Big Band, and the piano comes from “Jessica.”

via The-Breaks.com

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On February 23, 1995, Jay-Z and Big L visited the Stretch Armstrong & Bobbito Show to promote the “In My Lifetime” single and Lifestylez ov da Poor & Dangerous, respectively. They dropped a legendary 9 and a half minute freestyle and the full recording has only just surfaced. This moment in hip-hop history is especially surreal considering the paths that lay ahead of the two rappers, who at the time were peers on the NY hip-hop scene. Big L was murdered in 1999, blocks away from his home in Harlem. Jay-Z recently had lunch with billionaire investor Warren Buffet.

Play this for a friend whose knowledge of Jay-Z begins with “Roc Boys” and ends with “Empire State of Mind.” They might be surprised that Jay-Z could once hold his own against one of the most dexterous rappers ever.

Download: Big L and Jay-Z 1995 Stretch & Bobbito Freestyle

via DJ Premier Blog (fansite)

Crisp audio of a youthful Wu-Tang Clan performing classics from their first album in 1995.

Download: Wu-Tang Clan – Live At The Source Awards (1995)

via T.R.O.Y.

I lost all interest in Eminem after Relapse, but when he announced that Just Blaze was producing the bulk of the followup, I reluctantly got excited. Just Blaze, the man behind all the Roc-A-Fella classics, “Oh Boy” and most recently “Exhibit C.” This should be interesting, I thought.

Last night, Recovery leaked online and one of the first songs I heard was “No Love” which contains a prominent sample of Haddaway’s “What Is Love.” Utterly disturbed, I went on Twitter to cry about it and call out Mr. Blaze.

I reacted similarly when T.I. sampled an Internet meme for his single. According to nerd rap doctrine, samples should be old and obscure enough to be archaeological discoveries, preferably from the other side of the world. We like to think of producers as wizards who live in caverns of vinyl and collect records like Pokemon cards. Sampling a 1993 dance song that became an SNL skit and eventually a movie (EMILIOOO!!) is just wrong.

But Just asks a valid question: Why not? What if I pretend I’ve never heard of Haddaway or A Night at the Roxbury and the sample is just another rare loop? Are my elitist perceptions about what’s OK to sample totally arbitrary? I’m sure there two bros rocking out to Weezy’s bars right now with no qualms about the sample. What about “Girls Ain’t Nothing but Trouble” which contains a sample of the I Dream of Jeannie theme? There are countless examples of “questionable” samples that get a pass for one reason or another.

I don’t have good answers to those questions. Ultimately, there are no rules to sampling, it’s just a matter of what sounds right at the time. “No Love” has grown on me a little bit (not much) since my initial disgust, but I can’t see how anyone can absorb what Eminem is trying to pull out of his soul without bobbing their head to the side like Chris Kattan.

“I Confess” is a 1995 single released by Philadelphia rapper Bahamadia in support of her ‘96 album, Kollage. “I Confess” is as Q-Tip, would say, a fly love song, produced by Rap-A-Lot architect N.O. Joe. Joe provides a silky smooth backdrop with warm keys, tapping hi-hats wah-wah guitar and a bass line. The chorus is a sung interpolation of the first verse of “Let’s Get It On” that suites the vibe nicely:

I’ve been really tryin’, baby
Tryin’ to hold back this feelin’ for so long
And if you feel like I feel, baby
Then come on, oh, come on

“I Confess” got a second single release in ‘96 for a 12’ with remixes by the Roots and Erick Sermon. The Erick Sermon remix uses the same beat as Redman’s “Da Bump” (released the same year) and features a shorter chorus and adlibs by the Green Eyed Bandit. His beat has a thick bass line and eerie strings that works surprisingly well with Bahamadia’s buttery flow.

But the Roots’ remix is the real treat here, which pairs a live drums with a soothing bass line and woozy synths. Black Thought does very subtle backing vocals and doubles every line in a subtle but ear catching manner. This remix, more than even the original really captures the weak-kneed feeling of falling head over heels. Damn near perfect. Bahamadia even kicks 3 completely new verses and does the chorus herself:

I con-f-e-double es

Shorty show your interest/put me to a test

Yo my love/I con-f-e-double es

Don’t compare ya to the rest because to me you are the best

I can’t find an mp3 of the Erick Sermon remix (listen on YouTube) at the moment but readers, feel free to share in the comments.

Download: Bahamadia – I Confess

Download: Bahamadia – I Confess (The Roots Remix)

Like my beats harder than two-day old shit

Reviving a long-dormant ML feature, which I haven’t done for almost a year now. For those new to Remix Tuesdays: each RT post finds me discussing a song and a remix of said song, comparing the lyrics and production of the OG to the remix. Today’s subject is “Oh My God”, a single released off Tribe Called Quest’s 1993 album Midnight Marauders in ‘94.

The OG “Oh My God” is an upbeat head-nodder, credited to A Tribe Called Quest (which means Q-Tip did it!). The beat is driven by playful horns, a dusty, winding bass line and crisp snares and kicks. Busta contributes a typically animated chorus that just involves him shouting the song title over and over again.

The “Oh My God (Remix)” can be found on the “Oh My God” 12’ and CD single, and is also credited to ATCQ. The beat is more reserved, replacing the energy of the original with cool keys, harder drums with hi-hats and a creeping bass line. An echoing sax that enters on the chorus, which is performed by Tip instead of Trevor. The drum pattern switches up slightly for Phife’s verse. Tip actually kicks a couple more bars after the nine he does at the end of the original; nothing too special, since he mostly just shouts out NY boroughs and tells the listener that he’ll see you next LP and next cassette!

I’m more partial to the original “Oh My God” because it’s a bit brighter and catchier, but Tip deserves credit for completing inverting the song for his remix; he converted a sunny bit of brag rap into a dark, late night banger.

As a bonus, here’s a crazy live performance of “Oh My God” on Late Night with Conan O’Brie. Tip & Phife improvise some awesome chanting at the beginning and end of the song, while Ali Shaheed does some vicious cutting on the chorus. Love Phife’s hand movements and Tip’s glasses.

What’s your favourite version? Let us know in the comments.

Download: A Tribe Called Quest – Oh My God (ft. Busta Rhymes)

Download: A Tribe Called Quest – Oh My God (Remix)

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Creature offers his CDs to passersby free of charge on 6^th Avenue between 8^th Street and 9^th Street. “Do you like hip-hop?” he asks. If you say yes, he might tell you about how he appeared on Viktor Vaughn’s 2003 album Vaudeville Villain on the song “Open Mic Nite, Part 2.” And if you take one of his homemade CDs, he’ll ask for “a modest donation” in return.

An underground rap artist, Creature peddles his music on compact disc, a format made commercially available in October 1982. But in the independent record store upstairs, the walls are coated with vinyl records, a format which rose to dominance 40 years prior.

According to Nielsen SoundScan data, vinyl records posted record breaking sales numbers on November 8. Two million records were sold, which is 37% more than at the same time last year, and the most since Nielsen began tracking vinyl sales in 1991.

“Not in our market,” scoffed DJ Eclipse who oversees retail at Fat Beats, an independent record store specializing in hip-hop.

Even though vinyl plays an integral role in hip-hop production and DJing, Fat Beats has not enjoyed a share of the surge in vinyl sales. Music industry experts predict vinyl will play a significant role in the recording industry while hip-hop fans and record collectors don’t foresee vinyl expanding beyond a niche audience of audiophiles and enthusiasts.

“[Vinyl] helps to re-emphasize the music as opposed to the promotion or the sales,” said Sam Howard-Spink, Clinical Assistant Professor of Music Business at NYU. “To show that you’re a professional musician, it helps to hold up a vinyl copy of a record, because everyone can burn their own CD. So in a way, it’s a physical manifestation of the proof that you are a working band and there’s a label behind you.”

In July 1994, Joseph Abajian opened Fat Beats as a record store specializing in hip-hop and hard to find vinyl. The store’s website says its mission is “to become the international Mecca for true lovers of hip-hop.” Today, Fat Beats has locations in New York City, Los Angeles, and Amsterdam, as well as a distribution label and an online store.

“It’s more than just a store,” said Grant DeWilde, a record collector. “It’s one of the centers of the hip-hop scene in New York.” Artists regularly show up at Fat Beats to meet the fans or perform. The staff comprises a hip-hop group called Brown Bag AllStars.

“It’s funny because the numbers they’re quoting with the groups that are selling 20,000-25,000 units on vinyl – that’s cool, but we were doing that with hip-hop releases in the late 90s,” said Eclipse. “D.I.T.C. and Mos Def and all the stuff that was being distributed through Fat Beats that was of quality was doing those kind of numbers, but I’ll be damned if any of those artists are doing those kind of numbers now on vinyl,” he said.

Records attached to big name underground producers like DJ Premier, Pete Rock, and J Dilla still enjoy moderate success, according to Eclipse, but unestablished hip-hop acts have more trouble selling vinyl records. “It’s really hard to get stores to even take the stuff in, especially when you [see] stores are closing left and right.” Some Best Buy locations have begun carrying vinyl, but the stores that carry independent hip-hop vinyl are struggling to survive.

“We sell probably a bigger percentage of CDs and then clothing, DVDs, stuff like that, other tangible items that you can’t necessarily download,” said Eclipse, “We still try to support the vinyl scene, but it’s hard when the customers don’t support it back.”

“I think vinyl sales are up more in the rock genre.” said The Audible Doctor, who works at the store as a manager and at Fat Beats Records as an A&R. He placed the reason for hip-hop’s struggling sales elsewhere; “Hip-hop is not doing as well, because the majority of it sucks,” he said.

Part of the value of vinyl lies in its superior audio quality. “MP3s, for those of us who care about these things, sound like crap,” said Howard-Spink. “[With vinyl,] there’s a warmth and the bass notes come out cleaner,” said DeWilde.

Releasing a vinyl album also states an artist’s credentials. “It’s like, ‘Yes, our music is so good that we want to put it out on vinyl because it actually sounds better,’” said Howard-Spink. “It [also] has a lot to do, I think, with the fact that no one can hold an MP3 in their hand,” he said.

“It’s about collecting,” said Eclipse, who estimated that he has 30,000 records. “It’s a sickness, but it’s part of who I am,” he said. “Personally, I only collect records that are original. I won’t buy represses,” said DeWilde.

Though vinyl sales are up overall, Howard-Spink doesn’t believe they are strong enough to supplant declining CD sales. “The industry is irretrievably digital,” he said.

David Purcell, Assistant Director of Music Business at NYU, believes that the lack of portability ultimately hinders vinyl. “One thing that I think would interesting is if more younger consumers that were interested in vinyl actually started purchasing newer releases on vinyl…and then instead of downloading it, either legally or illegally, [they] just had either a turntable or an adapter that allowed them to make digital copies of it,” he said. “I think if that became easier and more fluid of a process, I can see [sales] still increasing a bit.”

Eclipse and Howard-Spink agreed that licensing and publishing are the future revenue streams of music businesses. “We’re going to continue to change with the times. As there’s been less and less hip-hop vinyl coming out, we’ve started making more room for more hip-hop related items,” said Eclipse. “More t-shirts, more DVDs, more books or magazines that are related to hip-hop, hip-hop paraphernalia, hip-hop belt buckles or watches, anything that has to do with hip-hop.”

“We represent hip-hop culture, so we’re going to make Fat Beats continue on with that premise,” he said.

I can’t believe I missed this. On February 27th, Revive Da Live put on a show dubbed Hip Hop 1942 at Le Poisson Rouge, which is part of a series of concerts aimed at melding jazz and hip-hop. Phonte showed up and joined John Robinson and Raydar Ellis for a Dilla medley backed by a live band. They performed “The Official”  and “Fall In Love” as well as the original sample for both, “Diana In The Autumn Wind.” The crowd goes wild when Phonte drops this bracelet:

Smack the fuck out they mouth, Chris Brown y’all niggas

The audio in the video is hardly satisfactory, but you can download a much cleaner recording here.

Download: Phonte – John Robinson, Raydar Ellis – “The Official,” “Fall In Love” and “Diana In The Autumn Wind” (Live in New York)

via All The Way Live

As a bonus, All The Way Live also dropped this amazing gem last week: CL Smooth performing “They Reminisce Over You (T.R.O.Y.)” with a live band in Berlin in 2007. Both audio and video after the jump.

Download: CL Smooth – They Reminisce Over You (T.R.O.Y.) (Live in Berlin)

(image source)

L. Boogie shuts down London with the assistance of a live band circa February 14th, 1999. Lauryn remains among my all-time favorite female rappers and undoubtedly the crown jewel on The Fugees’ classic album, The Score. Also, I included the original for you smart dumb cats*.

*still don’t know what that means

Download: Lauryn Hill – Lost Ones (Live in London, ’99)

via All The Way Live

Download: Lauryn Hill – Lost Ones

Bonus: The Fugees Freestyle for Funkmaster Flex, ’96

via GRANDGOOD

“Guess Who’s Back” is a 1997 single by Rakim from his ’97 solo debut The 18th Letter. Clark Kent produces the beat, employing hard, stilted drums  combined with a slowed-down keyboard loop from Bob James’ “Shamboozie”. Kent scratches Chuck D from “Bring The Noise” and Rakim for the intro to set the mood:

[Chuck D]: Back once again, it’s the incredible/[Rakim]: Rakim Allah

“Guess Who’s Back” also received a strange music video, featuring Rakim doing some poor acting in a orange robe.

DITC producer Buckwild remixed “Guess Who’s Back” for a 12′ of remixes of the track. Buck starts the remix with a slowed-down scratch of the same Chuck D sample from the OG, then lets the beat drop. Buck’s remix captures a more mellow, contemplative mood, using an subtle string loop and a three-bar piano. Buck switches the drums up, using a mix of crisp snares and shuffling hi-hats. remix. The beat switches up for the second verse. Buck pulls out the main loop, and lets the drums ride out with the occasional appearance from a creepy piano loop.

This is one of the few times where I’d give the original the edge over the remix. Buckwild’s beat sounds like it was intended for another song; it’s an undeniable head-nodder but it doesn’t fit the mood of the track. Clark Kent’s track sounds like a triumphant comeback, and suits Ra’s lyrics and flow better.

DOWNLOAD: Rakim – Guess Who’s Back

DOWNLOAD: Rakim – Guess Who’s Back (Buckwild Remix)

I’ve covered several Buckwild remixes for Remix Tuesdays over the past few months. Catch up:

Beastie Boys

Artifacts

Tha Alkaholiks

Feedback Time: I’m considering changing the title of Remix Tuesdays so that I can post the feature on days besides Tuesdays. Any suggestions? What do you guys think?