The ( Super ) Dust Brothers

We always look to find interesting and unique samples here on the SEVEN O CLOCK SAMPLE, and today we are not only looking at quality, but QUANTITY.

In 1988 the Beastie Boys headed west to LA to produce their sophomore album PAUL’S BOTIQUE.  After leaving Def Jam and Rick Rubin, the Beasties were in search of a new sound.

They found it in west cost production team, THE DUST BROTHERS.

The Dust Brothers, E.Z. Mike (Michael Simpson) and King Gizmo (John King) revolutionized the way sampled tracks were created.  These two unlikely hip hop heroes set a new standard for how sampling hardware was used and how sample based music was created.  In college they had a Rap radio show, and after they became well known DJs, they began to produce.

There they produced and sequenced tracks on Tone Lōc’s album, Lōc-ed After Dark. They also produced two tracks on Young MC’s debut album Stone Cold Rhymin.

Shortly after that, they meet the Beastie Boys, and these 5 men together created a record-setting hip hop opus!

In total, 105 songs were sampled on the album, including 24 individual samples on the last track alone!  The timing of this album is what makes it so historic.  Just 2 years later, Biz Markie would be sued by Gilbert O’Sullivan in the Grand Upright Music, Ltd. v. Warner Bros. case.  After that case, sampling records like this would not be legal.  ( It would happen again, but not legally. )

This album has some great tracks, here is one of my favorites…

There are a dozen records sampled on this track; including Kool and The Gang, Public Enemy, Sly and The Famliy Stone, The Commodores, The JAWS Soundtrack, and of course; Curtis Mayfield’s SHAFT THEME.

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Time For Some Lightnin’

This week on the Seven O Clock sample, we continue our exploration of the music of Summerfest.

The world’s largest music festival kicks continues today on Milwaukee’s lakefront, so I thought it’d be smart to look into some of the samples we may hear at this year’s festival

Headlining the Miller Oasis on Friday night, rock/hip-hop super group N.E.R.D. will perform.

Their new album NOTHING is due out this fall, and their last album SEEING SOUNDS is one of my favorite releases of 2008. The first track on the album is a high energy party starter called “Time For Some Action”.

While this song contains NO ACTUAL samples, there is without a doubt, some creative idea sampling on this track. In 1973, poet and activist Lightnin’ Rod teamed up with Kool and The Gang to produce the album HUSTLER’S CONVENTION. This album has been sampled by Nas, Smiff and Wesson, The Jungle Brothers and Beastie Boys so naturally I had placed this track in my sample files. However after checking some album credits, I found that I was mistaken. But listen to the first 10 seconds of this track, and compare it to the first riff on “Time For Some Action”.
It’s really close!!!!

In an attempt to save face, here is a track that DID sample “Sport”

Chemical Funk

This week on the Seven O’Clock Sample, we are exploring the music of the CHEMICAL BROTHERS!

Tom Rowlands and Ed Simons began creating music together in the early 1990s.  As DJs, they were drawn to the multilayered sample styles of American Hip Hop and when they found themselves running out of tracks to spin, they began to create their own.

In 1995, they released their debut full length album on Junior Boys Own.  The album’s title was the testament to their name change from Dust Brothers ( a name they borrowed from the west coast production team behind the Beastie Boys ) to the CHEMICAL BROTHERS.

Here is the WHITE LABEL version, pre-release….

There is no doubt that the Brothers have got some funk, and on this track they sampled some funk from one of the FUNKIEST organ players to bless the 88 keys… Mr. Jimmy McGriff!

From the Album THE WORM… here is Jimmy McGriff

Jay Z covers Beastie Boys at All Points West..

Last night just outside of NYC at All Points West Festival, Jay Z payed tribute to the Beastie Boys by covering No Sleep Til Brooklyn.  As you probably know, the Beastie Boys have had to cancel their summer festival schedule due to the recent news that Adam Yauch (aka MCA) has cancer.

Adam Yauch aka MCA

Adam Yauch aka MCA

Our thoughts and prayers go out to MCA and the Beastie Boys.  In the meantime, enjoy Jay Z’s tribute.

AWWWW YEAH! New Beastie Boys and Nas track.

Big Ups to my man KID CUT UP for hitting this to me on Twitter.
I am a HUGE Beastie Boys fan, so the fact that they are doing a song with NAS on their forthcoming album is EXTRA exciting!!!

Evolution of Hip Hop Month, Week 2: The Foundation

NYCsubway_blog

The late 1970s.  DJs are king.  Cutting and scratching are introduced, and the first hip hop albums are released, with MCs rapping over break beats built on funk, rock, latin and disco records.  A decade later, the MC has moved front and center … Rap is born … And drum machines and samplers give hip hop producers the tools to create a complex, in your face sound.
Week Two in the Evolution of Hip Hop … 1979 to 1988.  The Foundation.

1ST WAVE (1979 – Early 80s)
Afrika Bambaata, Grandmaster Flash, The Funky 4+1, Fatback Band, Kurtis Blow, Sugar Hill Gang, Cold Crush Brothers, Melle Mel, Blondie

In 1974, a former gang member-turned-DJ named Afrika Bambaataa meets a young grafitti artist named Fab 5 Freddy; a regular on the burgeoning hip-hop scene. Soon after, Bambaataa forms the Zulu Nation and catagorizes what he calls the ‘Four Elements’ of hip-hop: DJing, Breaking (Break Dancing), Graf Artists (Graffiti Art) and MCing.

In 1975, DJ Kool Herc coins the term break-boy to describe dancers that would dance during his extended breaks in the music. Soon, the term is shortened to b-boy and the style is called ‘breakdancing.’ Herc also takes an up-and-coming DJ named Grandmaster Flash under his wings.

Nearby, Afrika Bambaataa Asim (Kevin Donovan), leader of the Zulu Nation gang, threw his first party at the end of 1976.

In 1975, Grandmaster Flash begins working on a new, revolutionary technique of DJing: In addition to extending the break of a song, he begins mixing bits of two different songs together. Using headphones, he’s able to get the songs to overlap and connect. His new ‘mixing’ technique would be adopted by every hip-hop DJ to follow.

In 1975, Grandmaster Flash’s partner, Mean Gene, has a thirteen-year-old-brother named Theodore that is also beginning to DJ at local parties. After accidently sliding the record under the needle; a young Grand Wizard Theodore takes DJing a step forward by pushing the record back and forth lightly under the needle during breaks. He calls his new technique ‘scratching.’

In 1976, A group of party promoters called the Force stumble across a young DJ named Kool DJ Kurt. One particularly bold and aggressive member of the Force is a young man named Russell Simmons.  In 1977, Russell “Rush” Simmons moves the Force to Queens and convinces Kool DJ Kurt to begin rapping. Simmons decides to change Kurt’s name to Kurtis Blow and enlists his kid brother, Joey, to be Kurt’s DJ. Joey changes his name to ‘DJ Run.’

In 1977, the Bronx was divided in three main spheres of influence: Afrika Bambaata in the southeast, DJ Kool Herc in the west, and Grandmaster Flash in the center.

In 1978, DJing, up to this point the primary force in hip-hop, begins to take a backseat to MCing, thanks largely to Melle Mel of Grandmaster Flash’s crew, the Furious Five.

In 1979, the funk band Fatback releases ‘King Tim III (Personality Jock).’ Though it doesn’t gain much attention, it is the first mainstream rap single.

In 1979, Sylvia Robinson founds Sugarhill Records and, after hearing a bootleg of The Cold Crush Brothers, decides to put together a rap group called ‘The Sugarhill Gang.’ The Sugarhill Gang releases ‘Rapper’s Delight.’ Built on a sample of Chic’s disco hit ‘Good Times’ and written by Grandmaster Caz of the Cold Crush Brothers, it goes on to become hip-hop’s first hit and mainstream America’s first exposure to rap music.

In 1979, under manager Russell Simmons, Kurtis Blow becomes the first rapper to sign a record deal with a major label. In 1980, with “Rapper’s Delight” still riding the charts, Kurtis Blow releases his first single, “Christmas Rappin'”. Blow’s second single, “The Breaks,” is a hit; and becomes hip-hop’s first gold single. In his shows, Blow now sometimes allows DJ Run to rhyme with him.

In 1980, in order to capitalize on the growth of MCing in hip-hop, Grandmaster Flash recruits three of his friends, Keith “Cowboy” Wiggins, Melvin “Melle Mel” and Nathaniel “Kid Creole” Glover, who perform as The 3 MCs. Soon, they add Guy “Raheim” Williams and Eddie “Scorpio” Morris and change their name to Grandmaster Flash and the Furious Five.

In 1980, Blondie releases the single ‘Rapture’. It features a rapping vocal by lead singer Debbie Harry and mentions Fab 5 Freddy and Grandmaster Flash, furthering hip-hop’s push into the mainstream.

In 1981, Grandmaster Flash releases “The Adventures of Grandmaster Flash On the Wheels of Steel”, the first record to only showcase turntablism.

In 1982, Grandmaster Flash and the Furious Five release ‘The Message.’ Moving away from hip-hop’s party-oriented singles and focusing on the realities of inner-city poverty; it is a landmark moment for hip-hop.

In 1982, Afrika Bambaataa and the Soulsonic Force release the seminal electro-funk track “Planet Rock”.  Instead of simply rapping over disco beats, Bambaataa created an electronic sound, taking advantage of the rapidly improving drum machine, synthesizer technology as well as sampling from Kraftwerk.

In 1982, the music video for “Planet Rock” showcased the subculture of hip hop musicians, graffiti artists and breakdancers.

Between 1982 and 1985, many hip hop-related films were released, among them Wild Style, Beat Street, Krush Groove, Breakin, and the documentary Style Wars.  These films expanded the appeal of hip hop beyond the boundaries of New York. By 1985, youth worldwide were embracing the hip hop culture. The hip hop artwork and “slang” of US urban communities quickly found its way to Europe and Asia, as the culture’s global appeal took root.

2nd WAVE (1983 – 1988)
Run DMC, LL Cool J, UTFO, Doug E Fresh, Kool Moe Dee, Marly Marl, Whodini, Boogie Down Productions, Slick Rick, MC Shan, Eric B & Rakim, Salt ‘n Pepa, Beastie Boys, DJ Jazzy Jeff & The Fresh Prince

In 1981, Whodini becomes the first rap group to shoot an official video for their song “Magic’s Wand.”

In 1980, In 1980, Run DMC is formed at a DJ battle in Two-Fifths Park in Hollis, Queens; DJ Run and his friend, Darryl “Easy Dee” McDaniels, meet a young DJ named Jason “Jazzy Jase” Mizell. In 1983, Run DMC release their first single, “Sucker MCs/It’s Like That.” With it’s spare beats and hard, aggressive rhymes, it signals the beginning of the end for “Old School” hip-hop artists.

In 1984, Run DMC release their eponymous debut on Profile Records. It becomes a hit and introduces the ‘new school’ approach to hip-hop music: Hardcore, aggressive street rhymes over spare, funky beats with a heavy metal twist. Run DMC also become the first rap group to get consistent airplay on MTV and Top 40 rock radio.

In 1984, U.T.F.O.; (formerly the backup dancers for Whodini), release “Roxanne, Roxanne.” It goes on to become one of the most popular rap songs of all-time and spawns more than two dozen ‘response’ songs, including “Roxanne, You’re Through,” “The Real Roxanne,” “Roxanne’s Mother,” and most notably, “Roxanne’s Revenge” by 13-year-old Roxanne Shante.

In 1985, A young former delinquint-turned-rap-hopeful named Kris Parker meets social worker-and-sometimes-DJ Scott Sterling (aka Scott La Rock) at a Bronx homeless shelter. The two decide to form a rap group called Boogie Down Productions.

In 1985, Doug E. Fresh records his classic single, “The Show,” with the Get Fresh Crew and his new partner, MC Ricky D (aka Slick Rick.)

In 1985, a 16-year-old LL Cool J releases his debut album, “Radio.” It is the first album to be released by up-and-coming rap label, Def Jam.  In 1986, “Radio,” becomes certified platinum as Def Jam Records becomes the premiere label in hip-hop.

In 1986, Queens native MC Shan and his superproducer cousin, Marley Marl, release the single ‘The Bridge.’ Though virtually unnoticed by the mainstream press, the song is an instant classic in hip-hop circles. Featuring steller ‘new-school’ production from Marl and clever lyrics in which Shan arrogantly anoints his home, the Queensbridge Projects, hip-hop’s new homebase; the song raised the ire of the newly-formed, South Bronx-based Boogie Down Productions. BDP’s KRS-One disses Shan, Marl and Queens equally in the hard-hitting single, ‘The Bridge Is Over;’ igniting hip-hop’s first major rivalry and leaving fans eagerly awaiting Boogie Down Production’s first full-length album.  Marley Marl represented the new, professional face of hip-hop: whereas the early rappers were perfectly happy to make records with a turntable and a voice (and no instruments), now the dj had evolved into a producer, and the breakbeat had often been replaced by a band.

In 1986, Run DMC release their third album, “Raising Hell.” Sparked by the Aerosmith collaboration, “Walk This Way,” it is an instant hit. It is a cultural milestone for hip-hop, spawning four hit singles and becoming the first multi-platinum rap album. “Raising Hell” cements Run DMC’s place as the kings of the rap world, and kick-starts hip-hop’s ‘Golden Age,’ bringing the final curtain down on the ‘Old School.’

In 1986, a new hip-hop duo named Eric B. & Rakim release their first single, “Eric B. Is President.” It is another benchmark moment in hip-hop; as Rakim’s clever wordplay and complex rhyme schemes usher in a new era of MCing as an artform.

In 1986, Run DMC becomes the first rap group nominated for a Grammy; for best “R&B Vocal Performance.”

In 1986, Hip-hop’s first White rap group, the Beastie Boys, release their debut album, “Licensed to Ill,” on Def Jam Records. It goes on to become the best-selling rap album of the decade.

In 1986, Salt-N-Pepa; a new female rap group; release their debut album, “Hot, Cool & Vicious.” It becomes a moderate hit.  In 1987, Cameron Paul, a San Francisco DJ; remixes ‘Push It,’ a tune from Salt-N-Pepa’s (year-old) album, “Hot, Cool & Vicious.” The single is released nationally and becomes a hit; hitting number 19 on the pop charts and is nominated for a Grammy.

In 1987, Philadelphia duo DJ Jazzy Jeff & the Fresh Prince debut with “Rock the House.” With their fun, good-natured rhymes and humorous videos; the twosome become a favorite on MTV and the album goes gold.

In 1987, Boogie Down Productions releases their debut album, “Criminal Minded.” Building on Run DMC’s hardcore, minimalist approach and focusing more on the harsh realities of ghetto life; it becomes an instant classic among hip-hop fans. Lead MC, KRS-One; becomes an especially respected rapper among culture aficionados.

In 1987, Eric B. & Rakim release their debut album, “Paid In Full,” kick-starting hip-hop’s love affair with James Brown samples. The emergence of Rakim, in particular, heralds the dawn of the modern MC.

In 1987, after their show in Los Angeles ends in violence, Run DMC is blamed in the press for inciting the riot. The group calls a press conference to defend itself, and hip-hop is immediately thrust under a microscope by moral watchdogs and right-wing politicians.

In 1988, as Boogie Down Productions begins production on their second album; DJ Scott La Rock is gunned down following an altercation. Stunned by the sudden death of his partner, KRS-One soldiers on, and as ‘The Teacha,’ promotes a more educated and socially aware approach to hardcore hip-hop.

In 1989, Doug E. Fresh’s former partner, MC Ricky D–now calling himself ‘Slick Rick’–releases his solo debut, “The Great Adventures of Slick Rick” on Def Jam Records. With a gift for clever, laid-back rhymes and vivid storytelling, Rick is immediately elevated to the top-tier of MCs.

HIP HOP CULTURE AS VIOLENCE DETERRENT
Early hip hop has often been credited with helping to reduce inner-city gang violence by replacing physical violence with dance and artwork battles. In the early 1970s, Kool DJ Herc began organizing dance parties in his home in the Bronx. The parties became so popular they were moved to outdoor venues to accommodate more people. City teenagers, after years of gang violence, were looking for new ways to express themselves. These outdoor parties, hosted in parks, became a means of expression and an outlet for teenagers, where “Instead of getting into trouble on the streets, teens now had a place to expend their pent-up energy.”

Tony Tone, a member of the pioneering rap group the Cold Crush Brothers, noted that “Hip-hop saved a lot of lives.” Hip hop culture became an outlet and a way of dealing with the hardships of life as minorities within America, and an outlet to deal with violence and gang culture. Inspired by Kool DJ Herc, once-gang leader of the Black Spades, Afrika Bambaataa created as a means to draw teenagers out of gang life and violence.

Contrary to popular belief, the hip hop movement was not centered around violence, drugs, and weapons in the early days. Many people used hip hop in positive ways. The lyrical content of many early rap groups concentrated on social issues, most notably in the seminal track “The Message”, which discussed the realities of life in the housing projects.

7 0 clock Sample

Today’s Seven-o-clock sample was a suggestion of our very our Peter Adams….

Thanks Pete!

This track first hit my ears while skateboarding the mean street of Kenosha as a kid… This was a time when Hip Hop was not taking up very much of my music collection. I was uninspired and generally turned off to the Bone-Thug’s Master P rap that was so dominate at that time. My skater buddies all were into the Beastie Boys and I too was feeling the funk.

Later as an adult, I developed a DEEP love for jazz. I stumbled across this sample while living with the fellas in the Rusty Ps. We would all get together after work everyday and make music. When I first heard this sample I shouted… ” THAT’S GENIUS!”

(this vid’s got some extra flavor from the one and only Cut Chemist ) ENJOY!!!