If you read the title and know what Pepperland refers to, then you know it most likely has to do with The Beatles, and it does. Now you look at the graphic and are saying “but wait, I see Ol’ Dirty Bastard here. What’s going on?” In this case, it’s a remix project where Beatles samples were used to create new instrumentals for hip-hop songs. Look at all of the people who are on it, it’s insane. Here’s the track listing: Part 1
Hello Hello – Edan
Mr Mustard – Big Daddy Kane
Second To None – Rakim
Taxman – The Notorius B.I.G.
Gentle Thief – Nas
Where I’m From – Large Professor
Country Grammar – Talib Kweli & Bun B
Parlay – J-Live
Twist – Salt-N-Pepper
Birthday Dedication – Busta Rhymes
Open Mic Session pt. 1 – Masta Ace, Percee P, Lord Finesse, Frankie Cutlass, Easy Mo Bee & KRS-One
Number Nine – YZ
Self Titled – Heltah Skeltah
Bang Bang – MOP
Pepper – Kool G Rap
Bring Your Friends – Public Enemy
Interlude / Bridge – MC Shan
Last Forever – Artifacts
For The Children – Freddie Foxxx
Ringo’s Big Beat Theme – Spoonie Gee
Hold Poppa’s Large Hand – Ultramagnetic MC’s
Open Mic Session pt. 2 – Kool G Rap, Big Daddy Kane & Rakim
The End – Run DMC & Afrika Bambaataa
Circles – Wu-Tang Clan
Brooklyn Walrus – Ol’ Dirty Bastard, Buckshot , Masta Ace & Special Ed Part 2
Secrets – Slick Rick
Beneath The Diamond Sky – The Genius/GZA
Within Tomorrow – Busta Rhymes
The Beginning – Sunz Of Man
Gentle Drama – The RZA & Rugged Monk
Becausizm – KRS-One & Channel Live
Mary Jane – Tha Alkaholiks
Bong Water – Viktor Vaughn
Love In Summertime – Ghostface Killah & Beyonce
And I Lover Her Crazy – Jay-Z & Beyonce
Ruffneck Soldier – MC Lyte
Hey! – Beastie Boys
Get Back To The City – Large Professor
Hard To Leave Home – Nas
The Flyest – AZ
And Who? – Heiroglyphics
Lonely Thoughts – The Notorious B.I.G.
Can You Dig It? – Gravediggaz
How To Smile – 2Pac & Scarface
A Day In New York – AZ, Raekwon & Ghostface Killah
Stream it in full above or if you just want to download it and carry it with you on your travels, head to MonkeyBoxing.com.
Tax day in the U.S. is under two months away and while that can be good or bad, it seems to be turning into a great day for new music. Pharoahe Monch is returning to the forefront with P.T.S.D., which stands for “Post Traumatic Stress Disorder”, and it will be packed with a lot of special guests, including Black Thought of The Roots, Talib Kweli,and Vernon Reid, plus production from the likes of Quelle Chris, Jesse West, Marco Polo, and Lee Stone. While the press release says Mohch has been “at the forefront of lyrical innovation for two-decades now”, that’s not quite true. We’re talking three decades: 90’s, 00’s, and now in the 10’s, and he’s not about to stop just yet. A song called “Bad MF” has already surfaced, so have a listen to it below.
A U.S. tour will coincide with the album’s release and when those are announced, I’ll post the dates here.
With Method Man releasing a brand new track for the soundtrack to The RZA’s movie The Man With The Iron Fists, the music and film is not only attracting attention for fans of the Wu-Tang Clan, but also action films, kung fu flick fanatics, along with Quentin Tarantino enthusiasts, as he is the one presenting The RZA’s film to a much broader audience than it would be if he did it on his own. Now more news about the forthcoming soundtrack. The movie will be released in theaters on November 2nd, while the soundtrack, still being assembled and finalized, will hit stores about 10 days before the film on October 23rd. A close-to-final track listing for the album has been released. My guess would be that most of these (if not all) will be on there, but I would not be surprised if there’s a bonus track or two, maybe iTunes-only, maybe a “track 0” on the CD, it is unknown. What is known? These tracks. As you can see, it’s not only new material from The RZA and Wu-Fam, but also some of his hip-hop friends along with a few songs tracks he has sampled in the last 20 years: 1. The Black Keys / RZA “The Baddest Man Alive”
2. Ghostface Killah / M.O.P / Pharoahe Monch “Black Out”
3. Kanye West “White Dress”
4. The Revelations feat. Tre Williams “I Forgot To Be Your Lover”
5. Talib Kweli / RES “Get Your Way (Sex as a Weapon)”
6. Raekwon / Ghostface Killah / Kool G. Rap “Rivers of Blood”
7. Method Man / Freddie Gibbs / StreetLife “Built for This”
8. 24 Carat Black “Poverty’s Paradise”
9. Killa Sin “The Archer”
10. RZA / Flatbush Zombies “Just Blowin’ In The Wind”
12. Corrine Bailey Rae “Chains”
13. Pusha T / Raekwon “Tick Tock”
14. Frances Yip “Green is the Mountain”
15. The Wu-Tang Clan “Six Directions of Boxing”
16. Mabel John “Your Good Thing Is About To End”
It has been said that these older soul tracks are “re-constructions” of the originals. It doesn’t say if The RZA had access to the Stax Records’ multi-tracks or if he obtained them directly from the masters, but it means you may be hearing them cut up a bit (i.e. remixed) with the Rzarector style.
You may know of Talib Kweli, but have you heard of Animal Farm? Some of you might be deep Animal Farm fans and are going “who in the hell is this Talib Kweli cat? He better not be the Tyrese Gibson of hip-hop.” I don’t think he is, but if you actually have no idea who Talib is, do some research.
Then again, you should also know who Animal Farm are but if not, make this your initiation. They come together in this track called “Test Of Time”, which will stand.
A lot of people have wanted to see the end result of the Suite For Ma Dukes performance that was created in honor of the late James “Dilla” Yancey, and now it has been released. While it is certain it will be released on its own, you’ll have to purchase the full DVD box set it is in, but it’s worth the cost of admission.
Timeless: The Composer/Arranger Series (Mochilla) was, as the press material says, “the name of a concert series that was created in homage to the composer/arrangers who have influenced hip-hop in the most literal and profound ways.” In other words, it is a much deeper way of experiencing the music that influenced a cast of producers, DJ’s, and fans than just reading interviews.
Ethiopian jazz musician Mulatu Astatke was someone whose music may not have been massively spread in the same way Miles Davis and John Coltrane, but his influence has spread around the world for his unique musicianship, compositions, and arrangements. A recent reissue of his work by Strut Records (my review can be found here) explores what he has been known for, primarily in hushed circles but now people are getting a chance to hear his genius. For some elitists, jazz should be purely American and only American, but by going directly to the primary source of that jazz, Astatke comes full circle with it as an unspoken means of communication, and to finally see him performing this live is incredible.
Things get lifted to a higher level when Eothen “Egon” Alapatt introduces an artist who was a big influence on him and a number of people. He’s interrupted by MF DOOM briefly before Egon speaks on finding Verocai’s album, and asking the crowd if they have a specific pressing of the album, the “must have” pressing (record nerds know the deal). Before this segment, we see a photo collage of Verocai in the studio, and almost 40 years later, we see him as he is today, in the flesh, tall and lanky, ready to play. As soon as he gets the orchestra and band ready, there’s something you feel will happen. Then “Karina” begins, and it’s true magic. It’s the unfolding of the album, the equivalent of seeing a music video for the first time after staring at album covers and reading liner notes for years. In this case, it’s in the flesh, in your face, and live. You are seeing your imagination and admiration come to life, and it’s happening, song by song. Those in the crowd know these songs by heart, and to hear each song get applause less than five seconds after each one is sensed is very moving. It’s soulful, it’s funky, it made an impact on hip-hop in a small way, and it is that “outside” admiration that has managed to make him bigger outside of his home country of Brazil. You see Verocai smile a bit, and you know he’s feeling it too. 18 songs later, and you wish he would play another 18.
Suite For Ma Dukes is the music of Dilla recreated by Miguel Atwood-Ferguson and a 60 piece orchestra. As a record collector, you’ve probably gone through countless records by big bands, high schools, and Air Force groups, and yet you enjoy them because it’s small parts of a big puzzle unknown and unnamed. These big bands will not hesitate to cover the music of a musician, band, or composer. Dilla was known for not just sampling known and unknown tracks, but to do it in a way that doesn’t exactly sound like the original, he was funky and got a lot of attention because people liked his work. To be able to hear his works recreated by a 60-piece orchestra is a trip, because now you’re hearing one’s sample-based intellect turned into reality, it’s not a drum machine or sampler you’re seeing, but each sound reproduced as traditional composition, notated note by note, beat by beat. You’ll hear familiar sounds, familiar beats and rhythms, and one can only imagine what it would have been like of Dilla was alive to see and more importantly, hear this. The crowd goes nuts as soon as they recognize things.
One of my favorite moments is when “Stakes Is High”, the song Dilla produced for De La Soul is performed. Various special guests roll up on stage, showing love and support for the music Dilla created, and… I should also state that most of the songs performed in Suite For Ma Dukes is very much a suite in the jazz and classical sense, all done instrumentally. The orchestra is getting down, the guests are getting down, and conductor Ferguson is banging and head-nodding, showing his appreciation for the feeling he is helping create. All of a sudden, out from the crowd of special guests on the stage comes Posdnuos with microphone, and the crowd absolutely goes nuts. It turns from a controlled jazz and classical performance to one where one could imagine people in the crowd pointing at the stage, placing hand to mouth, and saying “oh shit, that’s motherfucking Plug One!”. In place of Dave (Trugoy) was Talib Kweli, and to see the smiles on the entire orchestra… they know what’s going on. It was such a moment for me, especially as a De La Soul fan, I almost started to tear up. It’s a great song unfolding and revealing itself, from our imaginations to the reality, and it looks and feels good. As Jurassic 5 once said, it’s about holding on to what’s golden, and this was truly a golden moment. The cinematography is incredible, true to the photographs of Brian “B+” Cross and Eric Coleman (who directed this), one of my favorite shots is at the intro to “”Don’t Nobody Care About Us”, when you see the drummer about to get ready, he’s looking at Atwood-Ferguson’s cue as he conducts. The music is causing the drummer’s sound barrier to vibrate, and it makes Atwood-Ferguson look like a cross between the album cover of Johnny Harris‘ Movements and the music of Don EllisAt Fillmore. When the drummer finally kicks in, instant chicken skin. As you see Atwood-Ferguson vibrating and rocking you realize: that’s how a lot of us feel when we’re listening to hip-hop. The effect works.
The entire DVD was beautifully shot in black & white, and the extras on the DVD’s, featuring everything from behind the scenes footage, photo galleries, and interviews only add to the greatness of this box. What I liked is that while hip-hop is far from dead, people are acknowledging the influence and its influences by archiving what has existed, so that those in the future will know what it meant to people. Just as jazz has become America’s classical music, hip-hop music is very much that for its followers, creators, and admirers, even though the powers that be will never make it so. Hip-hop, at its best, has never been about what anyone else thought, it was done because there was an unspoken movement to make it work. The Timeless treats Astatke, Verocai, and Dilla as legends, or at least humble musical spokesman for those who were not able to speak, as musicians and producers who had a need to be heard. This is honor, and I hope Mochilla will continue to “unfold” and “reveal” more artists and producers like this in the future.
As a producer, it is an extreme honor to have your music created in this way, and one can only show support for a “fellow producer” who was shown this kind of respect. To see one’s hard work, determination, and creativity turned into a project like this… it’s a beautiful thing. Job well done.
When it’s 3am, it’s eternal. Talib Kweli and Hi-Tek know what time it us, and thus they are Reflection Eternal and the duo are about to drop another collaboration in the form of an album they call Revolutions Per Minute (it always goes back to vinyl), due out on March 23rd. With a title like Revolutions Per Minute, one would expect for it to be released on vinyl but as of now it will be out on CD and digitally via the usual places.
Reflection Eternal are back with a new album called Revolutions Per Minute, and while the hip-hop world eagerly awaits something new from Black Star, it seems Talib isn’t about to wait around for Mos Def to rest so he’s joining with DJ Hi-Tek for an album that many fans have been waiting years to see come to reality.
The above video is a hint of what’s to come, with the album’s first single, “Back Again”
This is brand new music from Chali2na, and this time he’s teamed up with Talib Kweli for a track called “Lock Shit Down”. This is a sneak preview of what’s to come on Chali’s forthcoming album, Fish Outta Water (Decon), due out on June 23rd. He will also be on this year’s Rock The Bells concert tour.
Oh, and you’re asking “where’s the MP3?” Click here (8.48mb).