Since this is the forum dedicated to this man lets talk about beats/production that he did.



Now I know what your thinking.....I like players (or whatever beat comes to mind).


But my question is a little bit more in depth than that.

I'm looking for moment that made you rethink some shit on what he's done and still doing, and there are people who will post just post a song or beat that he's done, and thats it,

BUT




WHAT MADE you like players (or whatever beat comes to mind) if you are a producer/beatmaker?

break it down so that we can learn or share something for it, and get technical with it


Me I like the swing on the claps/percussion and the off-ness of it, also the way Clair was made to sound like players. Also props to J-rawls for his dedication and adding something to it to make it sound lovely...


Not my fav, but its a good start..


add on...

Now when the last time you seen a bison in a nigga studio....Jay

'Runnin' - People always say you should listen to the whole song when you're sampling...but how many people actually listen to every track they ever buy from the record store/download? That shit was so ill when I first heard the original track sampled, waiting for that break, and imagining that light bulb go off in dude's head when he heard the first part that would become the beat. This might not be the best example of Dilla's knack for sequencing, but this is my fav...how *this* part of the original track was used for the verses, *this* part with the horns was used to bring in the last verse, etc. Then there's the insight to not add too much, to use the bossa nova percussion in the track as the hi-hat and just add the snare and kick.

'Spatittorium' - Another Pharcyde gem...what I love about this track is the way it's eq'd...just enough highs shine thru so that you can hear the piano and the low end, but then how does he get that piano part that you can hear faintly in the background to jump out at you for the hook?

'Stakes Is High' - Shit...I don't really know where to begin. This was my first exposure to a producer turning a sample into a 4/4 loop by extending the end of the original section. This always reminds me of that Beatminerz style of production where they eq'd it to make it sound like the beat was coming from next door and all you could hear was the bass. Another thing I liked about the track is how I always thought the drums could have been better...like that flat snare never sounded 'right' to me but I still can't get over how ill the beat is.

'Still Shining' - For a while I didn't understand this track. I always wondered how somebody could make a beat where it sounds like the drummer is bored and refuses to play one steady pattern, and I always found it so ill that the synth line just kind of floats above the chaos.

'So Hardcore' - I don't know why I love this beat so much. It's just a beautiful piece of simplicity. The drums aren't hardly connected but this is the Dilla swing on full display.

'Get Dis Money' - This is another example of the genius of Dilla at work...I don't know exactly when the track was concieved but it and several other beats on Fantastic Vol.2 are a complete departure from the type of music people were sampling at the time. Like, seriously, nobody else was paying attention to Herbie Hancock's 80's work. Once again the loop wasn't right in your face as soon as the song starts like a lot of Premier or Tribe tracks. It's off kilter but somehow he gets it to work.

The Red

Purely because out of every Dilla beat that one makes me the most excited as an emcee

and i LOVE a lot of Dilla's beats

but that one just gives me some feeling inside, like rhymes are trying to break out

I personally think, no disrespect to Madlib, a better emcee would kill that beat, imagine Black Thought, Kweli, Pharaohe and Common

all of which i reckon wud do that beat the justic it deserves

_______________________________________
District Line State Of Mind

www.mysapce.com/adubsounds

that shit was dope...i cant find it...can someone inbox it to me...


http://www.myspace.com/cosign

http://www.soundclick.com/bands/8/roydotdeemusic.htm

http://www.soundclick.com/bands/5/defgordonmusic.htm

Life goes on

makes me wanna break a window, lol

lately i've been loving the beat for "move".
actually, i love those dilla beats cd's. i'm skipping most of his atcq era stuff now.

dilla was so brilliant that he could recreate himself like a phoenix. an d still managed to keep being accepted as a major producer. and that is fantastic.

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1. Tribe - Phony Rappers

This is may be the best beat off B,R & L. It's so suttle and a wierd way to kick off an album, moodwise and lyrically too. It doesn't even have a catchy hook. Ha! but that's what makes the whole thing work. I mean, this might be my fav Tribe album. Such an overlooked (and perhaps misunderstood?) masterpiece. And it's not just Dilla's involvement but seriously compare the first songs off the first 3 Tribe LPs to the last 2 and U can see his workings.

The beat itself is simple but kinda complex at the same time. It changes up halfway through the song and doesn't change back, and this part becomes the second movement. Dilla did the same thing with Keith Murray's Dangerous Grounds.


2. Keith Murray - The Rhyme Remix

...And speaking of Keith. Now look, E Dub is one of the greatest but Dilla almost took him apart with this remix. I say almost because the original song is damn near one of the greatest beats ever. But maaan, Dilla took the wheels off that bitch and put some rimz on her feet something nasty.

Where do I start? The Kick, I'll start with the kick lol. Played is the word. Played all the way through, and you can FEEL it. Some people ask "What does it matter if someone doesn't loop a bar of their drum pattern? After all they're only repeating the same 1/2/4 bar pattern all the way through." And yes that's all true BUT the whole point isn't so U can see the shifts in the beat. it's for the funk. it's instinct. U may not realise what it is that's slightly off but music is a sensitive experience so U FEEL IT.

The bassline? Pssssshhht.

That sample (nobody knows this one huh? lol) was a genius find, wherever he got it from. It really does give a completely new life to song. and the final touches, like dropping the kicks to snap with the rhymes was the icing.


3. Tribe - 1nce Again

This was prolly the first time I ever heard a Dilla beat. I remember seeing the video and liking the lady lady singing the hook. She hit just the right note even though the part was very simple. That hook is one of the easiest things for me to remember in the world, no kidding. i prolly know it better than my own birthday.

I love how the beat starts off. "Yeah y'all... ha-ha!" U wonder what's gonna be the first sound. The Gary Burton sample (which is a mother to detect, I'm still trying) starts and then that cutting-asss snare just pops through the speakers. I also love the warmness in the sound. Dilla really knew how to make the MPC sound as warm as possible without slushy effects or windchimes etc. It wasn't cold and U didn't need to try to like it at all. it liked U!


4. Common - Heat

I mean, c'mon. That bassline!!!!


To be continued... I could talk about every single one of them beats but I'll be back when I have more time.

<--- my only weakness.

Ima keep it moving.....


um


1. Turn It up - From the niggas tend to bug cos the beats is hard but gentle....

That is the essence of this beat. I think Busta used it also....Bilal really blessed it with that short chorus but added somethin serious with it. Okay the it factor for this beat is the stupid kicks and the snares. You can really fuck up somespeakers with this beat.

The cleanliness of that kick...damn when it hits your ears it is so dope that you can't help not notice how big and subtle it is.

The snare keeps you guessin on what type of beat it is. The time signature for it is something, but not of concern. It has a low-end-clean-pop to it.

ANd we aint even talked about how he flipped Minnie again. He made the bass in it lovely to leave room for that kick your ass kick. So that leads me into....

2. Lyrics to go - I heard this on tape back then. Its a very dope beat in that it has enough weight to be repetitive and keep an mc in the zone and just zone out. Primo did that alot. O yea when i heard how that was Minnie, NOT a background string synth sound that reeeally showed me that you can use a lot of things to sample and be cleva with it.



ps. alot of joints off of the jaylib had a certain kick that really kicked you. He also used some breaks too, but there was a certain asthetic to those low end poppin kicks.

3. Time: The Donuts of the Heart - Yea this was the first joint that I heard off of Donuts. And when I heard it I felt it. It was something in the chops and drops that he did. I really like how the vocals were arranged. Very straight ahead beat, and the end he does the time change and brings it back up without missing a beat. When I heard that, I lost my mind because it was just some shit that I never heard in a beat. It was one of those

How the hell did he do that?

moments.

4. Speaking of the moments....I was feeling the its your world. I like this unmixed version that i have much better. When I heard it all cleaned up, I didnt like the hi hat because it was too clean.

It was
just the off beat rhythm that the unmixed version had that was not dictated by that hi hat, but was in the mixed/mastered version.

The dark emotional feel of the whole track was dope. This to me is the perfect combination of a dope producer and an mc. Common really spoke up and out about his city and his experience it seems. This was doper and more visual than The Corner.

i have more...but I'll let that sink in...







peace.

Now when the last time you seen a bison in a nigga studio....Jay

That was all Tip and Ali.

The once and future Master

o word...


my fault

Now when the last time you seen a bison in a nigga studio....Jay

1. "Doin' It" Common

When I first bought the CD when it came out...I wasn't into production but I always liked that joint. After I was turned onto Dilla and production as a whole I was totally blwon away (and still am)at that piano chop in that joint. That is so dope.

2. "Mash" Donuts

Basically the same thing. The piano chop...

*****************************


http://www.speaklifeenterprises.com

"The outer world of circumstances shaped itself around the inner world of thought."
James Allen

Someone in the lesson posted the track dilla sampled nag champa from......
Up till then i neevr understood what chopping was....
When I heard the original i was just blown away at how he took pieces from all over the song and combined them.....
What i love abobut that track too, was how thick and lush he made verything sound (don't know if that was his doing or the engineer), but it had a juicy sound....i was hooked..

Thelonius....
I loved how he layed that track..i mean...how he faded in piece upon piece upon piece...coming towards the end of each verse...how he brought in the synths...then the flute-sounding thing....and they were so subtle.....

and it's not as hard as you may think it is.

The once and future Master

So anyone else got something else to contribute memories.....?


I'll tell you another


Think twice


One of my fav of all time. This is due to the drums drums drums. Every single one of them. This is where he separates himself as a beatmaker and assumes the role as a musician. Now, although ?uest said he has something to do with the drums, the arrangement was done wonderfully with all of the changes.

And prior to this I didnt know that dwele played the horns..so that was dope...


Also this was the first think twice version that I heard that told me what think twice actually was (donald byrd, main source, and even more recent then erykah's cover).

so when I heard it i was like this is "it"

The fourth change in the song where it is very upbeat changed my life.....


Also i would have to put this up there as one of the best treatments of a rhodes by the soulquarians...




one of the best, not thee best


peace.

Now when the last time you seen a bison in a nigga studio....Jay

The Doc will just say, sometimes it's the record used, and other
times, it's what Dilla does... but every time it's the finished
product.

Now for the tracks, outside of "contraband"...


Slum Village - "Players" - while others were speeding it up,
Dilla was slowin' it down. But taking an acapella song and layering
it, adding his own elements so it sounds like a real groove...
SICK. And you ain't even gotta like choppin' to grove with this.

Common - "Dooinit"

This is when The Doc really started to buy into the Dilla "hype".
The Doc thought this was a dope track alone, but that technique...
The Doc thought Dilla was putting a live bassline in this and
playing the keys until someone showed him the light...that man
had an incredible ear, ITDO. To make something so musical from
bits and pieces of something else...that's what rap music is all
about.

Slum Village - "Get Dis Money"

No brainer. Rhyming over a meticulously filtered loop of one of
the best Herbie Hancock songs ever recorded = automatic favorite
of Dr. Claw. But Dilla showed his more musical side, an ear for
good music, beyond just a loop and some drums here. There's
a demo version of this somewhere, without as much garnish...
trust, the version on Fantastic Vol. 2 beats it over and over
and over again.

Slum Village - "5 Ela (Remix)"

Dilla always had a flair for flipping the familar and putting
his own flavor on it. This was no different. Patrice Rushen's
"Remind Me" was given a signature Dilla clap-groove and a
little kick in the low-end just to make it funkier than originally
conceived. Dilla left no stone unturned here... and gave
truth to the adage, "Rap is an art, you don't own no loops --
it's how you hook 'em up..." (© Guru).

thats what im talking about......I feel you on all those..


just had to listen to doinit again just see what I missed and I noticed that piano in the chorus. It was dope.




that last song I am not sure what it is...where can I get it...? On vinyl or what album?




o yea I'll have more later too..

keep it moving folks...

peace.

Now when the last time you seen a bison in a nigga studio....Jay

it's also known as "Rock Da Spot" in bootleg circles.

The Small Pro definitely agrees with the Doc on that one. When I first heard that sample, I was geeked to hear once again that it was further along in the track, and once you hear it, it's like a light bulb goes off in your head...

The Red.

'cause it bangs.

www.RhymeCity.net
www.borderinginsubordination.com

cuz of how slick that shit is
i could jus vibe wit that shit soo much
n how the lyrics n his tone contrast to the smoothness of the instrumental
love that track

I dunno, recently, this track really really grew on me.
I thought Think Twice was the masterpiece of W2D, but this is a close second.


"Trickin the chickens to get the head dun...YA SON!!!"
hehehe, that shit was sick son, beats and rhymes

Baby - from The Shining album

this song just has something to do with feel and emotion...seriously i mean i listen to it everyday and still feel like something is new about it....it's just not production is some more inner and deep, it's hard to explain it with words, but y'all know whutta mean..even i listen to the ep where it has Baby Instrumental and damn, this beat is just so special, that anyone can connect too.. espcially the ladies, everything about it like progression, format, dedication, the back feel of the beat and the front feel of the beat, it goes from technical to physical from personal to emotional...this song drives y'all for real..... this is J DILLA and only he can rep this shit!!!! PEACE!!

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<--- my only weakness.

<--- we've got bush!

------------------------------------------
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IG: mistamonotone

E=MC2.

This beat is the greatest beat in the entire Universe. It takes everything great and holy and just and it forces it into your ears so that you have no choice but to repent from your evil doings of trying to make or listen to music that is inferior to Dilla Dawgs. I truly believe that in the future when man blows up the world, this song will be the answer to the Apocalypse. God will come out from a cloud in the sky like man imagines him and then he'll point to Dilla and say, "Emcee equals...", and Dilla will look down upon us all and give his classic smile and say "MC2," and all the planets in our solar system will align and the Apocalypse will end. Did I mention I can't wait until The Shining Instrumentals come out? One day I will create an algorithm to send my body into time the speed of sound so that I can literally float on every rhythm within this song. It'll be the greatest ride of my life. Second only to Heaven. And stuff. No, seriously, the song accomplishes everything anyone has ever tried to do with music. It kicks you in the face with that Funky ass riff that even George Clinton could have never imagined, it hovers over all in omnipotense with it's futuristic "Emcee squared..." Everything about this song says man is good, man is just, there is hope for man after all. Also, it proves Einstein's theory of relativity. In the future people will look back at this song and remember the history of man as he truly is, not just as we have been told of his existence. The truth. That's what this beat is to me, homey. I'm done... LOL Musicians of the world can now stop making music. Your time is up. Music as we know it will never be the same. E=MC2 and that is all.

_________________
"We will sell our shadows to those who stand within it."

<--- my only weakness.

I LOVE that track. For me it was just city livin in musical form. Somehow it reminded me of all my experiences growin up in Baltimore. The good and bad. And for that reason, it is one of my all time favorite musical pieces. Not exclusive to hip hop, just music period.

*Honorable Mention*: Busta's Lament

"I'm scientific, but my reflex gangsta"- Black Thought

-------
do the heizman on dat hoe
myspace.com/ncsoul

Just 'cause it reminds me of my christmas break of 1995.

It was cold as hell, and me and my crew were going from party to party every night during that break, pumping that song.

I miss those days.....

He had so many bangers, man. RIP

We see through all that boo boo like it's ghost shit... (c) Quelle Chris

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Whatup back for another....


Um lets see...




Guitar from J Dilla (Jay Dee) - Unreleased Instrumentals volume 1


When I first heard it. I felt like I had been dwarfed in terms of my musical understanding of beats. Nothing musically had ever hit my ears the way that the beat did. And nothing will.


See what this beat is, is a sonically perfected bangin ass beat. IN a lot of settings this can be a background , you can scratch something in it, there is a lot...

One thing I did not like was ths unreleased versionsong of jaylib, where madlib is rhyming on it.

NOW, it may have sounded dope before I heard the instrumental, and I have myself to blame for that. To me that beat is a personal favorite...


Dynamically those snares are low ended but overall they are not tinny or too deep. The kick, is so offset with that bassline, that you cant follow it, so you have to see that it possibly isnt in 4/4.


I am not sure what its in, but those samples also illustrate subtley with samples...

This also was shown to me (the subtley in samples) with flyyyyy. You dont have to overwelm the track with vocals samples and or the whole sample just to let people know you sampled a song....

I learned that the
wanting
to know what this cat sampled (or anyone for that matter)
is relative to how dope the beat is.

As a producer you create the demand for that obscure sample by how dope your production is.


add on..


peace.

Now when the last time you seen a bison in a nigga studio....Jay

so i guess that, cause it my favorite song on my favorite album, but i dont know.

_____________________________

http://twitter.com/VanGTFOH

'This is a mans world beat' off the beat tape -

what does it for me is the fact that the beat is so common, and he didnt really chop it into a new rhythm but he changed just enough to give it a different edge and it was BEAUTIFUL. OH but the way he made the background bass harder was a big plus on that beat.

Lets take it back off Ruff Draft -

Okay ruff draft is possibly one of his best works. Seriously. The minute the sonic beat starts up and then he starts bussing " I had a dream bout my man last night........., and his name is frank n dank thats whats up"
(no homo)

I felt that this was like a later solo slum jay dee flowing to a hardcore beat. drums was tight, samples was tight but the flow and simplistic (in a good way) rhymes stole the show.

Slum Village Players -

okay most people have already mention the way he cut the sample into something different but i dont care what anyone says what steals the shoew for me is the CHORUS "Sounds the same and you claim to be somethin you aint and wont be without SV, you need to be smacked open hand and beat by these PLLLLLLAAAAAAAAAAYYYYEEERRRRSSSS. (also the way he literally chopped the clair vocal to sound like players in the way I typed it). Nobody chops vocals in milliseconds like that, NOBODY. True dedication.

Pause off W2D -

This is the record to introduce jay dee to friends with. Staright up Fire. Crisp drums, hard bassline, catchy vocals (when you bump this in your ride, you can ride, get all the fine ladies inside), i always thought this was the beat that absolutely everybody loves. Shit the unorthodox way it starts just makes my heart drop.

Earl off vintage - Thats my at home relaxing eating some good chicken beat. The drum break is dope, the Joe Pass sample is dope. The warm bassline is dope. Just great beatmaking in its simplicity.

Oh and by the way its not about, oh you could have done that beat, its about would you have thought of that beat in the first place, would you have simply layered mangione with spinning wheel and then fault of those catchy choruses.

For instance when i listen to his beats i dont listen to the drum break he used or the sample he used, I listen to the way he used the drum break, like the way he would put drums to fit the beat whether they were extremely light (two can win) or straight programmed and hard (pause).

Beats are 100% artistic impression and thought. that is why hes number one in my opinion and i dont need any rappers on it. ( i felt donuts was ruined by many average MCs rhyming all over material which cannot be rapped over except strap (if you looked at the titles of the songs first and then randomly put the strap beat on you know it was designed for ghost). dude thought process was complex.

Jay Dee is No1

-------------------------------------------

<----------who's holdin the aces
February 10th 2006 - Hip-hop was lost.

http://www.myspace.com/jayjamesheronmusic

"Nigga- sells dope
Nigger- PROUDLY sells dope

Nigga- goes to jail
Nigger- goes BACK to jail

My favorite is "Don't Cry" from the Donuts album. He killed that one. I played that over a hundred times. I might make that beat into a ringtone for my phone.

https://twitter.com/chuck4prez

i have read the liner notes before and i dont recall seeing his name there.

<--- my only weakness.

when it flips into the cuban piano section, i dont know what to do with myself.

RIP JDILLA
THE ILLEST THAT EVER DID IT

This is where it's at
I dunno why no one ever says it


But maybe that doesn't count as a Beat, it was more of a song

>But maybe that doesn't count as a Beat, it was more of a song

Maybe, to me it just shows how talented dude is (w/ dwele on the horns)
that was some tight shit

---------------------------------------
"We're not weeell...and we cain't teeell" (c) Badu

http://www.myspace.com/sonjevitysgroove

So yea...


RAW SHIT...



I thought that was a collab joint that they both did together beatwise. It had me wondering who did what on it, because I was like did he really get into that break beat and just chopp it up like that?? Or more so, did he chop that dre beat up and make those synths beyond stupid? I like the part when the bass synth drops in like the second verse or so...(like a minute or so)

I think the selection of kweli was a good idea. That was taking it to the kweli that kills shit..madlib hung with and complimented him

you CANNOT front on how dirty, grimey, scientific, and high energy that beat is..


RAW ADDICT...


okay that was one of the first joints from the jaylib that I heard. I like how he got all the kicks in before the snare, illustrating his swing that he mastered.

That bassline??!!

Its rumbling in the background without boundaries...


Madlib killed it, complimented that shit...


but the high point was when he said I change the pitch up....for me he was talkin about the kicks changing that shit up...

I know there were like two releases, but this wasnt on the one you copped at the store. It was weird how they released it though. I copped it sometime a few years ago downloading it from somewhere as a single file. I went and copped it and saw that raw addict wasnt on the retail version along with a coupla other joints that madlib killed like turn it up and what not...


yea, also that weed skit where they go those zylophones spelling out marijuajuna?? and that shit was crazy...And it had that kung-fu background...?

yea.

peace.

Now when the last time you seen a bison in a nigga studio....Jay

Man its hard but I gotta say "Find A Way" everytime I hear that joint I get on stuck mode I cant help but to dance.

RIP TO THE LATE GREAT J DILLA

J-DILLA CHANGED MY LIFE

but "Jealousy" jumps at me fisrt off, just cause of the baseline alone.
That was some sick shit. I dont know if it was sampled or not. I just
know it was sick as hell. and the keyboard... man...

"Got til its Gone" is another joint that comes to mind. Just dope as
hell, thats all I can say.

"Forth and Back" is one of my favs. Not really mentioned by many (maybe
cause Kurupt is on the track, lol) but that track is hypnotic man.

"Pause"- as far as neck-snapability alone (you can use that), this is my
joint hands down (whoever said ladies dont like neck-snappin shit was a
lie)

there are so many

---------------------------------------
"We're not weeell...and we cain't teeell" (c) Badu

http://www.myspace.com/sonjevitysgroove