Review: Buckshot and 9th Wonder’s The Formula
April 29, 2008
“Some of your LPs/stand for ‘long punishment’ ” – Buckshot, “No Future”
If it ain’t broke don’t fix it. The Formula is the second full length to come from the partnership of Black Moon MC Buckshot and former Little Brother producer 9th Wonder. Sonically, The Formula is mastered better than their first collaboration, 2005′s Chemistry, with the beats hitting harder and the production sounding crisper. But 9th Wonder’s production gives the album the same lush and soulful vibe that his fans seek and Buckshot flows nicely over his midtempo beats. The Formula’s consistency is both its greatest strength and greatest liability; the problem is, neither emcee nor producer really leaves their comfort zone. 9th Wonder does great work but his airy samples and signature drums can grow repetitive for first time listeners. The seamless nature of The Formula makes the songs blend together. The album would also have benefitted from more guest spots, as Buckshot’s unwavering delivery wears after a while. But Buck’s trademark sing song/toast perfected on Enta Da Stage still sounds good, and he still comes with the street-smart punch lines that made records like “I Got Cha Opin” so memorable.
9ths campain for Adult Contemporary hip-hop has entered its next phase. R&B singers like Carlitta Durand add sung choruses to several songs, lending the album a smoother, more mature steez than its more rugged, Beatminerz-influenced predecessor. Where Buckshot once threatened to buck down weak emcees who stepped to him, he’s switched up his style as befits an elder statesman. Now he kicks the truth to the youth, rapping: “I don’t preach/but I do teach/my little homies in the hood how to outreach.”
While the songs may be a bit similar sounding at times, it’s encouraging to see a rapper working with a single producer on an album. And The Formula’s highlights more than make up for the duller tracks. Lyrically the best tracks include “Go All Out”, “Hold It Down” featuring Talib Kweli and Tyler Woods, “Shinin’ Y’All” & “Man Listen”. -Aaron Matthews
9th Wonder: One Producer is The Right “Formula”
April 24, 2008
On April 29th Buckshot and 9th Wonder are releasing The Formula, the follow-up to their 2005 collab, Chemistry. In recent years the trend in hip-hop has been towards multiple producers contributing to one project, making the pairing of one producer and one MC unique. For his part 9th is trying to bring that practice back through projects with Jean Grae, Murs and of course Buckshot.
“This is the rule we established a long time ago,” he says. “I’m all for music evolving but we gotta keep some type of standard and continuum. When you throw a lot of producers in a pot and one producer doesn’t oversee it like what Dr. Dre did with The Game record…every producer is shooting for the single so it sounds like a big mess sometimes. Dr. Dre knew what order to put certain songs and what sounds like the last record of the album. All the great hip-hop records understand sequence.”
In addition to his work with Buck, last year 9th did his version of “Crooklyn Dodgers” with Mos Def, Memphis Bleek and Jean Grae. Buckshot appeared on the original in 1994 with Masta Ace and Special Ed which was produced by Q-Tip of A Tribe Called Quest.
“I think it was a blessing to hear 9th do it over,” says Buck. “Anytime you make some kind of impression on anybody it’s a blessing.”
As for Chemistry, 9th and Buck hope the album will continue to build on the movement they’ve coined Adult Contemporary Hip-Hop.
“I’m 33 years old so this is for every 28 plus year old that grew up in a time period when Hip-Hop spoke to them,” says 9th. “We are trying to pave a way, a lane for our own music and radio stations. Because I don’t want to hear the little kids stuff all day and I don’t want to hear the O Jay’s on the radio all day either. Our generation understands the balance.”
DJ Green Lantern: “Of course Hip-Hop Deserves its own Guitar Hero.”
April 20, 2008
In an up-coming interview with Radio-One’s Theurbandaily.com DJ/Producer Green Lantern spoke candidly about his role in Grand Theft Auto 4, producing for Pete Rock and whether the hip-hop game needs its own game.
“I have no comment and that may be because I have something in development,” Green Lantern teases when asked if hip-hop is ready for its own version of the popular Guitar Hero and Rock Band video games. “But of course we deserve it. If you can have a Rock Band then why not a DJ Hero or an MC Hero, or whatever it would be named because MC Hero [would sound] really corny.”
The popular producer for Busta Rhymes and Ludacris was tapped by the folks at Rock Star Games to host his own channel of original music in the up-coming Grand Theft Auto 4, which is based in his native New York City.
“It’s the first time they put that much responsibility in somebody’s hands,” he says proudly. While he is mum on whether he makes an appearance in the game he adds, “There’s some real legendary, relevant individuals in the game. They have some surprises.”
In addition to his work with Rock Star, Green Lantern was recently featured as the only outside producer on Pete Rock’s New York’s Finest, giving him the beat for “Don’t Be Mad.” He is also currently working on a Barack Obama mixtape with Russell Simmons.
“It’s not like [Obama] is officially endorsing it,” he clarifies. “But I’m going to make it real easy for him to stand next to the music that’s on it. It’s the first time a presidential candidate has had a mixtape.”
As a special surprise, Green Lantern was joined by Pete Rock in his studio halfway through the interview. Keep checking back to Nodfactor.com and the soon to be launched TheUrbandaily.com for exclusive video from that sit-down between two of New York’s finest.
-Jerry L. Barrow
DRUMLINE GOES DIGITAL: ROLAND PROVIDES SNEAK PEEK OF NEW RHYTHM COACH PRODUCT
April 18, 2008
“This one time at band camp…I slapped Nick Cannon.” That’s how gangsta things are about to get this summer. Roland debuted the new RMP-12 marching percussion instrument at this year’s WGI World Championships. This latest addition to the Rhythm Coach® line of products offers enhanced playability, expressiveness, and versatility for practice and performance applications.
The RMP-12 is the world’s first electronic marching percussion instrument to incorporate Roland’s patented multi-layer mesh head technology, allowing drummers to practice longer with less stress and fatigue. The 12-inch pad with rim triggering connects to a newly-designed module with 128 different sounds and effects, including a wide variety of marching, concert, and world percussion instruments.
The battery-powered RMP-12 is lightweight and portable, and can easily attach to standard marching carriers or concert snare stands. Its variety of I/O options include an audio output for a wired or wireless connection to any amplification system, a mix input, and a headphone output for quiet practice.
The RMP-12 also includes the Rhythm Coach, an invaluable practice tool that helps drummers improve timing, accuracy, speed, and stamina through a series of effective drills and exercises. Seamless switching from practice mode to live marching mode makes the RMP-12 the perfect instrument tool for both performance and practice.
Pricing and availability will be announced at the Summer NAMM show in Nashville, TN, June 20-22, 2008.
Triple Threat J-Live returns with new CD Then What Happened?
April 16, 2008
Pressure busts pipes and shapes diamonds so if anybody has jewels to drop it’s J-Live.
Three years after his last project, The Here After, multi-talented triple threat is back with a vengeance on his new CD, Then What Happened?
“The cover is me knocked out with my glasses broken,” says the NY native who now resides in Atlanta, GA. “Musically this is me getting off the ground.”
After the lukewarm reception to the production on his last project J-Live enlisted a who’s who of hip-hop producers and talented off-the-radar beatsmiths.
“I didn’t do any beats on this one,” says J who is famously known for being able to scratch records and rhyme at the same time. “I’m not trying to have a beat on the album for the sake of having a beat. I got Jazzy Jeff, Evil Dee, Oddisee, Floyd The Locsmif, DJ Spinna, Nicolay and DJ Numark from Jurassic Five.” Also featured are Joe Money, (who produced “Like This Anna,” “One For The Griot,” and “Nights Like This” on All of The Above ) Yalzee and Spymusic’s Probe DMS.
“I’ve been working on this for about a year and a half,” he says. “Every time I get into it something happens in my life, my whole world flips around. The separation from my wife was big, that’s a very serious life altering occurrence and having three kids makes it more complicated. That’s a whole other animal. My kids are in Atlanta now, that’s why I’m down here. I’ve been doing some tutoring of Language Arts and Math to middle schoolers. Just keeping that side of the blade sharp.”
While he stands by his work on The Here After, he does have an explanation for why it sounded so different from his previous work.
“The thing that people don’t realize is that [on] The Here After we only sampled from Rykor’s catalogue cuz they said they couldn’t afford any sample issues,” he reveals. “It was an interesting experiment, very worth the effort, but at the end of the day it doesn’t go back to 70s soul or Jazz and Funk so every producer on the record had their hands tied behind their back, including myself. It was apparent in the end product.”
J hasn’t done much production as of late but his MPC work on “Traveling Music,” “Stir of Echoes,” and “The 4th 3rd” should leave little doubt as to what he can do with the right resources. After touring in the U.S., Europe and South Africa he’ll begin working on an instrumental album.
“I’ll let people talk their shit because my rep speaks for itself on the beats. It’s not like the evidence ain’t there. Lately it’s just been ‘focus on the rhymes’ but the beats are coming.”
J-Live’s, Then What Happened? will be in stores May 27th
Nicolay: “Rolling With The Dutch,” Part 2
April 16, 2008
NF: Phonte once joked that your beats sound a certain way because in the Netherlands it’s cold with a lot of open space and grass.
Nicolay:[laughs] Yeah that’s what makes them airy
NF: But you’ve since relocated to the states, yes?
Nicolay: yup, temporarily
NF: Has that influenced your sound at all?
Nicolay: nah, I’m way to secluded for that. I think if anything it influences me even more to remain original. Just from what I hear and see around me there’s just so much mainstream in daily life. Commercials out the ass everywhere. It makes me want to be different even more.
Jay-Z Get’s Mobbed: Hasan Insane’s “Black Caesar” Mixtape
April 15, 2008
After crafting audible treats like an “Allure” remix with a sick saxophone and 16 bars from Nas for the An American Gangster Mixtape producer/DJ Hasan Insane is back with another Jay-Z inspired project entitled Black Caesar. At first glance it’s easy to think “damn, more American Gangster rehash?” But that was pieced together with older acapellas while this uses the “official” verses. Jay’s voice and flow is just perfect for remixing and it’s about time folks talked about Jigga without the words “and beyonce” following right behind.
What makes Hasan’s remixes so good is his ability to find samples that match the mood of the original without sound anything like it. While his version of “American Dreamin” doesn’t knock the Marvin Gaye flavored original, it holds its own with a jazzy guitar loop, some drums that hit a little softer and well placed vocal scratches.
In addition to his beats, Insane has a knack for adding guest vocals that is down right scary. For example, adding Big Boi and Pimp C to “Party Life” is an inspired touch that should give American Gangster some fresh legs going into the summer.
So if the F.E.D.S. don’t have your computer tapped check out a copy of Black Caeasar. The tracklisting is below. Peep clips at Hasan’s Myspace page:
01. INTRO
02. PRAY FEAT. RAEKWON (HASAN INSANE REMIX)
03. AMERICAN DREAMIN FEAT. NAS (HASAN INSANE REMIX
04. HELLO BROOKLYN 3.0 FEAT. LIL’ WAYNE, THE NOTORIOUS BIG & OL’ DIRTY BASTARD (HASAN INSANE REMIX)
05. NO HOOK FEAT. YOUNG JEEZY (HASAN INSANE REMIX)
06. ROC BOYS FEAT. KANYE WEST (HASAN INSANE REMIX)
07. SWEET FEAT. JADAKISS (HASAN INSANE REMIX
08. I KNOW FEAT. T.I. & PHARRELL (HASAN INSANE REMIX)
09. PARTY LIFE FEAT. BIG BOI, PIMP C & CARLITTA DURAND (HASAN INSANE REMIX)
10. IGNORANT SH*T FEAT. LUPE FIASCO (HASAN INSANE REMIX)
11. SAY HELLO FEAT. SCARFACE (HASAN INSANE REMIX)
12. SUCCESS FEAT. GHOSTFACE (HASAN INSANE REMIX)
13. FALLEN FEAT. BEANIE SIGEL & JESSE BOYKINS III (HASAN INSANE REMIX)
**BONUS**
AMERICAN GANGSTER (HASAN INSANE REMIX)
DILLA MANAGER: “STOP POCKETING MONEY IN HIS NAME…”
April 10, 2008
Several weeks ago an Ad was taken out in Billboard magazine by the executor of the late James “J-Dilla” Yancey’s estate:
In an effort to bring some order to the handling of his work, his estate has hired one of his former managers, Jonathan Dworkin. Dworkin recently sent a letter out to friends, fans and associates of Dilla in an attempt to clear up misconceptions about the Billboard advertisement. This is a copy of the letter unedited. The contents do not necessarily reflect the views and opinions of Nodfactor.com and is presented for information purposes only.
To the friends and fans of the late J Dilla:
Before I get into this, I just want to say that I am speaking only on my own behalf, not on behalf of the executor or attorney for J Dilla’s estate.
There has been a lot of chatter about the ad taken out by J Dilla’s estate in Billboard a couple of weeks ago- quite a bit of speculation about what the motivation was. I just wanted to say simply- this is about one thing, protecting J Dilla’s legacy for his children. I was brought on as manager for the remaining assets of the estate a couple of months ago (I had managed Dilla for several years while he was alive) and I was shocked, sickened even, to see what’s gone on over the last couple of years.
Now, there are a number of people who have somehow been involved with Dilla’s legacy that had the best of intentions. In fact, I’ve found that most people I’ve spoken to have had nothing but good intentions. They did a deal, released an album, put out some merch in partnership with somebody who claimed to represent the estate. Most of these people only wanted to know that Dilla’s family was benefiting from doing these kinds of things. The message to these people is- reach out to the representatives of the estate, if we can find a way to work things out amicably, we will do everything we can to do so. Ask anyone that has talked to us so far if we have been unreasonable, shady, or wrongly intentioned. As the ad said, the only person who can authorize anything on Dilla’s behalf is Arty Erk, executor for the estate. (Because of a very unfortunate typo, Arty’s email address was incorrectly listed in the ad, it should be [email protected]). IF YOU HAVE A PIECE OF PAPER AND IT’S NOT SIGNED BY DILLA OR ARTY, YOU ARE NOT TALKING TO THE RIGHT PEOPLE.
Then, there is a whole other class of people, who, if you are among them, you know who you are:
These are people that put out records with Dilla’s name and POCKETED THE MONEY.
These are people who threw events in cities all over the world claiming to benefit Dilla’s estate and POCKETED THE MONEY.
These are people who put Dilla’s name or likeness on a t-shirt and never thought once about his family.
These are people who continue to keep material that Dilla gave them in their basement waiting for their chance to exploit it and make a buck.
Then there is the gray area. People who couldn’t resist. People who couldn’t resist putting Dilla’s unreleased beat tapes on every music blog they could because they wanted to share the music with the world. I get it- but really, do you think that’s right?
I’ll say this simply. I’m sure all of this speculation will continue. So, I want to be very clear. The estate is acting for a single purpose- to make sure that proceeds from Dilla’s work benefit the people Dilla wanted it to benefit. I’m not trying to shut anyone down, kill anyone’s record or party, or assassinate anyone’s character. I’m not flexing my ego or fighting with anyone. I’m only trying to carry out Dilla’s wishes.
So, if you really care about Dilla and his legacy, help DILLA’s ESTATE. Stop swapping files of his beat tapes. Stop releasing illegal product. STOP POCKETING MONEY IN HIS NAME. Tell the people that are doing this to stop. When you do this, and this is not an exaggeration or a joke, you are stealing from children. Come on. You may think you know the REAL story, but I’m telling you, this is the REAL STORY.
Jonathan Dworkin
[email protected]
Hydrosonics-Blastah Beatz “Powaful Impakt”
April 9, 2008
Name: Blastah Beatz
Age: 20
Representing: Portugal
Contact:MySpace
Key Track: “Survive” by Busta Rhymes
1)When did you get started making beats?
I started in 2003, on FruityLoops and my 450 mhz home computer. Back then I was 15, just messing around dropping factory drums over loops. But over time this led me to understand the basics of sample-driven production. I only got serious with beatmaking in 2006. Shout out to my mentor DJ Master Kutt for teaching me the basics of music theory and production.
2) How did you connect with Busta Rhymes for the mixtape track “Survive”? How did you make that beat? Did you just send him the beat or did they ask for you to track it out, etc.?
Ah man, it’s still unreal for me. Busta is one of my all-time favourite artists. I connected with DJ Kay Slay, sent him a few beats and next thing I know I get a Flipmode/Streetsweepers track on a Busta Rhymes project. Me and Slay also worked on “The Last Lyricists,” a track featuring Busta Rhymes, Papoose and Big Lou. They used a stereo 2-track for both songs.
3) What is the biggest lesson you’ve learned in shopping your beats?
Excessive watermarking is prejudicial for you, but find the small tag you want to use as your trademark and always throw it in during the intro of your tracks. That way whenever an artist chooses to record to your beat and not warn you before, your ID will still persist.
4) What’s in your toolbox? Are you more hardware or software based?
I’m definitely more software based, mainly because of my location and budget. You don’t easily find good and cheap equipment in my country, and shipping gear in turns out to be really expensive (one word: Customs). I really want to make the jump to hardware though, it’s just a matter of time.
I always use the same formula to make a beat: Cool Edit 2, FruityLoops3, and Reason 3. I also use a MIDI controller for basslines and sparse instrumentation, KRK RP5 monitors for mixing and occasionally a Boss SP-303 for its crazy effects.
5) )What is the hip-hop scene like in Portugal? Where do you go to get records and equipment?
Although I’m not up to date with everything, I believe it’s developing strong. Nowhere near as the major markets, but you have a few artists reaching gold and platinum status so it’s a great look. There’s still a lot to be made and pioneered, I hope I can help in that matter. We have dope producers, MC’s, groups, DJ’s, breakers, writers, beatboxers and media outlets working hard to make our Kulture better: props to them all. To get records and equipment it’s hell on Earth, like I mentioned before. I’m not even in a major city so I’m forced to get all my records online, and my equipment is mostly virtual. I paid 350€ for my KRK’s; that’s 550 American dollars, just to make my point clear. There’s room for a lot of improvement in this aspect.
6) What do you do to shop and promote your beats, since you have so many underground placements?
The Internet is crazy. That’s how we connected even being thousands of miles away. I always wanted a manager to handle my business since I can’t fly overseas back and forth, but in the end I can cut the middle man with this tool. Everything you see in my discography, I got it myself by looking for the artists/managers/A&R’s contacts online and hitting them up with tracks. MySpace, forums, email adresses, everything works. You need to feel that you’re ready and your beats are on point before you do that though, you only get one first impression and unfortunately I wasted a few in my early stages.
Pete Rock to be Special Guest at Guitar Center Sessions in California
April 9, 2008
Los Angeles, CA – Guitar Center is preparing the next installment in its Guitar
Center Sessions series: An evening of dialogue and insight with Pete Rock, featuring special guests Just
Blaze, 9th Wonder, DJ Numark and DJ Revolution, on Sunday, April 20 at the Guitar Center in Hollywood,
CA.
Designed to provide informative, provocative conversation and hands-on tutorials, GC Sessions
serves as an incubator for musicians, offering them an opportunity to network with their peers and gain insight from their heroes in an intimate setting.
The last session was held in early April and featured the RZA on the Roland 8800.
In addition to the event itself, Guitar Center in partnership with Akai and Cornerstone Promotions, is offering five lucky artists a chance to participate in a private tutorial session with Pete Rock prior to the event. Winners will gain hands-on experience using the Akai MPC25000, and Guitar Center will video tape these sessions for http://gc.guitarcenter.com
This event is free and open to the public.
An Evening of Education, Conversation and Insight with
Pete Rock
April 20, 2008 @ 7PM
Guitar Center Hollywood
7425 Sunset Blvd.
Hollywood, CA
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