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  • 6月 27 / 2014
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Rhythm 旋律

Souls Of Mischief – Montezuma’s Revenge Instrumentals [2009]

Montezuma’s Revenge was created the old-fashioned way, with the MCs A-Plus, Phesto, Opio & Tajai – and producers Prince Paul & Domino – in the lab together from the beginning to the end of the recording process. “We rented a house” explains Opio. “Prince Paul came out, we had no distractions, we just did music every day. ” “It was cool” adds Tajai. “He had concepts, and its good to have an outside perspective – it was a great process.” The result is a cohesive, creative Hip Hop album, the kind of project you d expect from veterans like Souls of Mischief under the auspices of a genius producer like Prince Paul. Souls first encountered Prince Paul while touring with A Tribe Called Quest and De La Soul back in the day. But it was on a more recent tour with Handsome Boy Modeling School that the seeds of this collaboration were planted. So what exactly is Montezuma’s Revenge? Tajai comments, “We recorded the album on Montezuma Street.” The final product features 18 tracks of the quality Hip Hop you ve come to expect from Hieroglyphics, with cover art by esteemed illustrator Steve Lopez (famous for his illustrations of Erykah Badu and others). Of course there s more to the title than the location of the recording, Tajai says “The deeper meaning is this album will make you cr@p yourself.”

01 Intro (Instrumental)
02 Woni (Instrumental)
03 Postal (Instrumental)
04 Tour Stories (Instrumental)
05 Proper Aim (Instrumental)
06 You Got It (Instrumental)
07 Hiero HQ (Instrumental)
08 Poets (Instrumental)
09 Fourmation (Instrumental)
10 Dead Man Walkin (Instrumental)
11 For Real Y’all (Instrumental)
12 Lickity Split (Instrumntal)
13 Home Game (Instrumental)
14 Lalala (Instrumental)

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  • 6月 27 / 2014
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Rhythm 旋律

Amerigo Gazaway – Yasiin Gaye: The Departure (Side One) Instrumentals

1. Intro Theme (The Departure)
2. Inner City Travellin’ Man
3. Definition of Infinity feat. Talib Kweli
4. I Want You ‘Til The Summertime
5. Ms. Fat Booty
6. The Panties feat. Teddy Pendergrass
7. Workin’ It Out
8. Peculiar Mathematics
9. “T” Plays a Cool Loop (Interlude)
10. Time (To Get It Together)
11. Inner City Breathin’ feat. Tammi Terrell
12. Two Worlds feat. Kanye West
13. Soul Mates Radio (Intermission)
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  • 6月 27 / 2014
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Rhythm 旋律

Souls of Mischief – 93 Still (Gummy Soul Instrumentals)

In celebration of the 20th anniversary of 93 ‘Til Infinity, Souls of Mischief graciously opened their vaults to give Gummy Soul the exclusive acapellas of their classic album, to remix for the first time ever.

As the framework of the project, Gummy Soul’s Wally Clark, dug through his extensive record collection, and gathered all of the songs that were sampled to make hip-hop in 1993. Jazz, Funk and Soul songs, used to create classics from Digable Planets, Snoop Dogg and Black Moon, were then re-contextualized to provide familiar, yet updated versions of some of hip-hop’s most beloved material.

“I wanted to take all of the records that people used back then, and create new compositions using the same techniques they were using – such as filtered bass lines, classic drum breaks, echo-y horns – to make an album that sounds like it could have been released in 1993,” says Clark. “It was an amazing exercise trying to capture the essence of a sacred time in hip-hop. It also allowed me to playfully use samples that are normally deemed off-limits, because they are too well known.”

Be on the look out for Soul’s of Mischief’s new album “There Is Only Now,” produced by Adrian Younge, as well as the 93 ‘Til documentary, featuring Questlove, Mos Def, 9th Wonder, Pete Rock and more.

1.Never No More 03:45
2.Live and Let Live 05:11
3.Disseshowedo 02:49
4.What a Way to Go Out 04:57
5.Let ‘Em Know 04:09
6.A Name I Call Myself 03:57
7.93 Still 03:58
8.Limitations 03:41
9.Anything Can Happen 03:26
10.Make Your Mind Up 03:07
11.Batting Practice 03:57
12.That’s When Ya Lost 03:36
13.Tell Me Who Profits 02:45

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  • 6月 17 / 2014
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Rhythm 旋律

Blue Sky Black Death & Hell Razah – Razah’s Ladder Instrumentals 2007


“Our father Jacob is having a dream,“ Hell Razah recounts at the outset of the excellent Razah’s Ladder. “And in this dream he sees a ladder that’s set up on the earth, and the top of it reaches into the heaven. He say he can hail the angels of Yahweh, ascending and descending on this ladder, and when he look to the top of it, he saw the creator of the universe: Yahweh. He who is, he who was, and he who shall be.”

Over Blue Sky Black Death’s lonely saxophone, the telling of the Old Testament tale is a perfect intro for the brooding Ladder; right away, Razah establishes himself as the wise seer, tugging at his thick beard as he explains the ways of the world, as he bring us up his ladder one rung at a time.

Samples from the poorly aging Tarantino-lite Boondock Saints are awkward but easy to ignore thanks to Razah’s engaging, often cryptic lyrics, especially his oblique Judaism references. Razah, who came up with the Wu-Tang-affiliated Sunz of Man and has run solo since 2001’s When All Hell Breaks Loose, has, as far as I can tell, no explicit association with Judaism. (He says on 2004’s “What Gangstas Do”: “I injure players like Ray Lewis, vests spray through it/ Get mad cash like I’m half Jewish.”) Repeatedly, he draws an association with Jews and Israel: “I was told by wise men that the blacks was Jews/ So that made me strap up with tools”; “This for the kids outside that’s in the military/ No matter black or Israeli, they both want us buried”; “I get chills from the pain every time that I kneel/ Now my head is saying prayer for the rest of Israel”; “I’m about to blow like an ave. in Tel Aviv”; “On Shabbat we give the Most High props through hip-hop.”

That’s one of the intriguing things about hip-hop; it’s a conducive medium for a vocalist to craft a persona. Razah’s enigmatic lyrics hint at a personally cultivated, oddball belief system, and, like the best material from his former mentors in the Wu-Tang Clan, demand repeat listenings for proper deciphering.

Razah summed up the recording process, a full-album collaborative effort with the relatively new San Francisco production duo Blue Sky Black Death, as “Studio equipment, Hennessy bottles, spiritual books, sour diesel, and a box of Dutches.” Kingston and Young God of Blue Sky Black Death explained further that that they provided Razah with more beats than he could use, allowing him to pick and choose the best fits. And it shows: The production makes Razah’s mid-groove flow seem downright effortless. Razah’s Ladder makes me wonder, once again, why more emcee don’t employ the practice of the full-album collaboration.

On “Audiobigoraphy,” Razah walks us through his sojourning, small-stakes career — through busted record deals, limited-run seven-inches, flopping LPs — as much for his own fleeting posterity as for our sake. At one point he brings up a few perceived creative appropriations from his higher-profile one-time boosters — “Me and 7th did “Livin’ in Hell”/ Pressed up it independent, not knowin’ if a record would sell/ Rae and Ghost made “Heaven & Hell” while we was hearin’ it/ Meanwhile we thinkin’ it was all coincidence.” He’s not bitter — more confused, shruggingly pensive about what might have been.

Of course, the burn of watching dudes he came up with grace magazine covers and cash royalty checks that as far as Razah is concerned might well have been his will never completely fade. But the emcee has seemingly accepted his fate as a foot soldier in the campaign for quality hip-hop, independent or otherwise. This late-career period finds Razah at ease — confident, reflective, singularly focused on his music, free of resentment. As Razah’s Ladder attests, it should be a fertile one.

01. Elevation
02. Razah’s Ladder
03. The Cube
04. Halos
05. Most Merciful
06. Audiobiography
07. Pray Together
08. Poor Righteous Dreams
09. Better Than Jewelry
10. Project Prophecy
11. Painted Jezebels
12. Written In Blood
13. Stairway To Heaven
14. Sun Of Man
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  • 5月 18 / 2014
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Rhythm 旋律

Various Beatmakers – 16PADS


What do you think of when you hear «16 pads»? Do you think of your midi-controller? Drum-machine? Something else? Keyboard players will probably remember that 16 is two octaves. And this is right, because AKAI’s engineers didn’t pick the number 16 out of blue; and this is not just about the pitch, but in wide range of midi-commands that are multiples of this number. To be honest, I am pretty sure that pads are the one to revolutionize beatmaking; everything that was in MPC 60 was already existing before that. Similar sequencer, sampler — all of that existed, except those 16 Pads and beautiful features that come with them. More that 20 years passed, but even to this day AKAI and other competing companies use exactly this system, because it IS really flexible, convenient and just plain genius! Those pads became the face of beatmaking, quality standard to which all other manufactures live up to. As for beatmakers — it is something that you want to have and master. Even the word «fetish» would be to the point in here. I don’t like the word, but it is what it is. Everybody wants to have the brand new, powerful, expensive machines. For most of my friends this is something that I call «computer». A machine is something that I am giving soul to. This is my tool, my partner, my companion, my dear friend and source of inspiration. This is my 16 pads. And this is my MPC.

16Pads is an album which was created completely using hardware and consists of four banks of sixteens. 16 beatmakers, 16 countries, 16 beats and 16 ways to make a beat.

1.Sneadr – The Hotstepper 02:20
2.Etalon – It’ll Be You 03:38
3.Diza XL – Raw 04:57
4.Politiks – Chosen 03:23
5.Nizuk – Cergy, 1992 04:27
6.Pisar – Dark Side 03:04
7.Omegasix – Ruf Jazz 02:07
8.5th Sequence – Lovespeak 01:42
9.Natural Doc – The World Is A Ghetto 02:16
10.KASETA – Too Ill To Kill 02:34
11.KLIM Beats – Rooftop 01:50
12.Truskull Zerokappa – Waltz 4 Betty 03:24
13.RELIC – Help Centred 03:24
14.Sicknessmp – Whiskey Master 02:08
15.Principe Palanca – Knitting The Moon 02:31
16.Habitus – People Walks 02:20
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  • 5月 18 / 2014
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Rhythm 旋律

Scab Beatz – Straight From Tokyo

Scab Beatz – Liberty 1:54
Scab Beatz – White Out 2:18
Scab Beatz – Love N Hate 3:14
Scab Beatz – Daydream 1:47
Scab Beatz – Ghetto Youth 2:05
Scab Beatz – New Day 3:10
Scab Beatz – The Park 2:59
Scab Beatz – Soul Street 0:53
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  • 4月 28 / 2014
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Rhythm 旋律

Onra – Chinoiseries

这首歌叫做The Anthem,后来被用在姚明和Le Brown James为北京奥林匹克做的可口可乐广告里,当然是换了歌词。。
带着30个很稀有的黑胶唱片回到法国,他做出了专辑Chinoiserie,一张深受J.DILLA还有越南和中国传统音乐影响的地下杰作,就好像他驾驶着Hip Hop文艺复兴的宇宙飞船在家航行。
1 Introduction
2 The Anthem
3 Chop Your Hands
4 Relax in Nui Ne
5 Naughty Hottie (Interlude)
6 Eat Dog
7 Last Tango in Saigon
8 Apocalypse Now
9 I Wanna Go Back
10 Full backpack
11 War
12 Lesson with the Master
13 Dark Sea
14 Phuoc Dat (Interlude)
15 Boundless Boundaries
16 What Up Duyet?
17 Welcome to Viet Nam
18 Here Come the Flutes
19 The Vallee of Love
20 Smoking Buddha
21 Clap Clap
22 Bounce (Interlude)
23 Live from Hue
24 Where’s My Longan?
25 Take a Ride
26 Raw
27 The Ritual
28 Cymbal Oelek
29 The Third Sword (Interlude)
30 One Day
31 They Got Breaks Too
32 Hope

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  • 4月 28 / 2014
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Rhythm 旋律

中国风说唱伴奏Onra – Chinoiseries, Pt.2




这个来自法国的hip-hop节奏怪才并非天生就与音乐有着不解之缘,他和许多现在知名的制作人一样,都是从小时候受到别人的影响才开始慢慢对音乐着迷。ONRA有个哥哥,他从小的就以哥哥为榜样。哥哥那时候经常听 old school hip-hop,他也经常跟着一起听,开始是觉得这样的音乐非常酷,后来才开始渐渐了解并进入hip-hop音乐世界直到现在,差不多到他20岁左右的时候才开始听其他类型的音乐,因为听的东西多了才知道—原来很多他喜欢的制作人都用不同唱片的片段采样来做编曲。同样也还是那段时间他开始用很便宜的软件学习如何制作音乐。对他来说hip-hop的节奏比起歌词来更有吸引力,所以从开始尝试制作到现在他都是一器乐hip-hop为主线的。为大家所熟知的专辑《Chinoiseries》就能充分说明他驾驭节奏的能力;2007年2月他还与Quetzal一起在Favorite厂牌下发行了名为《Tribute》的EP,充满神奇越南风韵的funk和迷幻节奏再次让人深陷入他的神奇音乐世界。当然hip-hop不是他音乐的全部,他对soul,funk的掌控也相当娴熟,2009年3月,他同样在厂牌Favorite旗下发行了大受好评的7吋黑胶《The Anthem》,这张黑胶的问世将乐迷对他的狂热推向了高峰,他也在适当的时候向大家展示了他细腻流畅的另一面,之所以称他为怪才是因为他刚刚崭露头角没多久,却已经发行了几张非常有分量的专辑,速度之快和质量之高都令人瞠目结舌,这次ONRA来在中国还带来了他2009年2月才发行的新专《1.0.8》(Favorite唱片),这张唱片同样凝聚着他非凡的才华和众人的期待

ONRA真正意义上开始做音乐是从2003年开始的,因为那时候才慢慢开始有了设备:一个Akai MPC 1000采样器,我相信大部分人在看过他的简历以后会一致断定–他就是个音乐狂人,死守在黑胶和电脑前一刻也不得闲!但是他却说:“我从来没有学过乐器,所以我花很多时间去创作节奏。最近在玩一些合成器,试着自学,试着用自己的方式去玩,但是真的很难而且很花时间。我的日常生活是在下午2点左右醒,听一些音乐,回复电子邮件,做一些琐事,然后开始做音乐直到可能早上5,6点。 当然,我也花很多时间上网,我不是一周7天一天24小时都在做音乐…”

在这里我们还不得不提一位对ONRA的音乐之路有着举足轻重地位的音乐人。ONRA在他长大的过程中一直关注hip-hop音乐的发展,以前是谁红就听谁的,那时候也正是美国东西海岸饶舌派较量最为激烈的时候,当从这些对抗hip-hop中冷静下来,人也慢慢长大,终于发现他最喜欢的音乐人是J Dilla。

J Dilla(1974-2006)是美国非常著名的唱片制作人/说唱人/DJ,九十年代中期在底特律的地下hip-hop圈崭露头角。J Dilla可以说是ONRA音乐风格成型的催化剂,他认为没有人可以像J Dilla一样将采样做到极致,J Dilla的音乐将他带向了一个全新的领域并开阔了他的思路。ONRA真诚的说:即使现在很多的先锋音乐家仍然很敬重J Dilla,他的音乐就像是魔术,不是一般的人随便可以模仿得来的。他所有的音乐都很精致而且恰到好处,他总是不断推动hip-hop音乐的临界点,使其产生微妙的变化,他改变了我的生活!如果没有他的音乐存在,我今天根本不可能做出任何像样的东西。

ONRA是hip-hop音乐天空中一颗冉冉升起的新星, 他性情化的嘻哈节奏和风格变幻的采样使得他的光芒越来越耀眼。他在旅行的路上不断收集音乐的灵感和采样的素材,使他的节奏更难捕捉也更具个人色彩,ONRA式的hip-hop在不断的磨合历练中风格越来越明显,他已逐渐成为法国hip-hop界最具代表性的新生力量!

ONRA有个哥哥,他从小的就以哥哥为榜样。哥哥那时候经常听 old school hip-hop,他也经常跟着一起听,开始是觉得这样的音乐非常酷,后来才开始渐渐了解并进入hip-hop音乐世界直到现在,差不多到他20岁左右的时候才开始听其他类型的音乐,因为听的东西多了才知道—原来很多他喜欢的制作人都用不同唱片的片段采样来做编曲。

(via louder)
01. Onra – The Arrival
02. Onra – A New Dynasty
03. Onra – It’s All Memories
04. Onra – Remember The Name
05. Onra – Open The Door
06. Onra – Gotta Go
07. Onra – Mai’s Theme
08. Onra – Words Of Encouragement
09. Onra – Trapped
10. Onra – One For The Wu
11. Onra – No Matter What
12. Onra – Meet The Queen
13. Onra – Stay With Me
14. Onra – Opium Delirium
15. Onra – Cold Blooded
16. Onra – Where I’m From
17. Onra – Still Broke
18. Onra – Snakes & Smoke
19. Onra – Mai’s Theme 2
20. Onra – Raw Shit
21. Onra – Ms.Ho
22. Onra – All Night
23. Onra – In My Mind
24. Onra – Hide And Seek
25. Onra – Play The Game
26. Onra – Warrior’s Pride
27. Onra – Like Father, Like Son
28. Onra – Fight Or Die
29. Onra – Through The Flesh
30. Onra – Tears Of Joy
31. Onra – They Got Breaks Two
32. Onra – The End
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