Only adults are admitted. Nobody younger than 18 can hire or listen to Psykhomantus in the club or your speakers with this rating. The DJ under this category do not have limitation on the bad language that is used. Hard Beats are generally allowed, and strong Scratchin/Beat Juggling along with Body Tricks activity is also allowed. Scenes of strong real sex may be permitted if justified by a fly groupie.

Sunday, 29 January 2012

Happy New Year in the name of the Dragon.


Thousands of people celebrated Chinese New Year in Birmingham. 2012 is the Year Of The Dragon. I was lucky to witness an amazing event in the Arcadian Centre in the city's Chinese Quarter. I got my DJ name written in Chinese and a few gifts for myself just to celebrate and take part of an amazing culture. Happy New Year in the name of the Dragon.

A Night with Da-Mighty Elementz (DME)

A Night with Da-Mighty Elementz (DME) by Rebbecca Hemmings
Last night I attended DME’s ‘Ghost Town’ EP album launch. I hadn’t heard of DME before. From the little I had read about the event, I knew they were a Birmingham based rap group. To be honest, this really was not an event I would normally go to. My days of nodding my head to the superfast lyrics of hyped up rappers on stage, were long behind me. However, I fancied an alternative night out. Plus, as I had heard that DJ E Double D was playing, I knew the event must hold up to a somewhat decent standard, because this man does not play just ‘anywhere’.
The night was warmed up by the legendary hip-hop DJ crew, ‘A Few Good Men’, which last night was represented by E Double D, Psykhomantus, Roc One and Rhize. My intention was to sit down, sip on my beverage, look pretty and tap my fingers to hip-hop beats and leave early. I know, how little faith I have in hip-hop now-a-days. This is probably shocking to those who remember the days when I was a little teenage rapper spitting lyrics in the studio, performing on the table tops in the college canteen and even on stage in front of Keith Murray and Redman in Digbeth.
My faith in hip-hop had been tarnished by the foul-mouthed, women hating, big headed rap stars that turned the genre mostly into a money-making, immoral platform for fools. However, last night saw my love of hip-hop return. Once I heard KRS One ‘whooping’ the sound of the police, I was on my feet dancing on the floor with the students and hip-hop lovers like I had never left the scene. The DJs killed it, big time!
I had decided to stick around as my friend Rochelle Robertson was accompanying the guys on some of their tracks. I know Rochelle is a badass singer and that she would make the night very interesting (which she did – the crowd loved her).
The show began, DME entered the stage.  Firstly, I was struck by the attire of the men on stage. They weren’t dressed like the typical rappers. They had on black suits, white shirts and ties, accompanied by the freshest looking white trainers you have ever seen. ‘Quite impressive!’ I thought.
When they began their performance, I was immediately struck by the energy, passion and honest intent behind the words. I could tell they meant every word they said. And what was even more remarkable was that I could actually understand the lyrics. Often, what makes me switch off from rappers is that annoying tendency to mumble every word and arrogantly act like everyone should have heard what they said. I did not have this problem, so I had the luxury of sitting and listening to the words they had offer.
I loved the fact that they told stories. The most interesting lyrics for me were the ones about ‘trainers’. In the track I believe they actually called ‘Trainers’ the guys cleverly described their summarised life stories through the trainers they had purchased over the years. It was so refreshing to hear something other than the popularised misogynistic, cash-gloating, super-egotistical, standard pop rap (can you tell how much I detest this sort of rap?).
My favourite song was led by Rochelle singing the chorus’s lyrics ‘I Don’t Wanna Break Your Heart’. As a woman hearing men say those words, it oozed their vulnerability, love, understanding, empathy, sincerity and if I was a groupie, the guys may have found a pair of undergarments in their pockets by the end of the night, because of that song.
Towards the end of the show, they performed what I would call a bit of a head banger. The beats were powerful, the arrangement cleverly composed, fast paced and hardcore. It  was definitely a track that appealed more to the men than the ladies but the majority of the crowd lapped it up like the remnants of the last supper. I haven’t seen people jump up to a track so much since I saw ‘The House of Pain’ in concert back in the 90s.
I must say, I enjoyed the entire night, the band were on point, the DJ’s played ‘til they virtually bleed, the people’s energy remained high throughout the night and Rochelle’s beautiful singing melodies gave the evening the feminine edge that was needed. As for Da Mighty Elementz, at the right times: they blew around the room like a warm summer breeze, their thunder rolled and got the people jumping and the sun beamed to reveal the true stars that Birmingham has given birth to.
Much love goes out to DME for daring to go against the grain and be themselves. I loved their bare-faced honesty. For that, I have the utmost respect for this group. I also have to say a huge ‘thank you’ to them for enabling me to enjoy hip-hop performances again – that was no easy feat, trust me!
Look, it’s simple, if you get an opportunity to buy the EP ‘Ghostown’, you definitely should. You will not be disappointed.

Thursday, 26 January 2012


The Bass Bizarre world tour is DJ Qbert’s most musically diverse performance project to date. It represents a new chapter in his never ending quest to break down artistic boundaries and extend the potential of sound quality and musical experience. Recognized as one of the most interesting and powerful beatboxers on the globe, Reeps One’s totally unique, purist approach is what makes him stand out so boldly from the pack, delivering a complexity in technique and a depth of substance that completes the Bass Bizarre sound.
For more information on this ground breaking new project hit
DJ Qbert & Reeps One redefine reality at the following dates and venues:
Wednesday, 08.02.12   Hare and Hounds   106 High Street  Kings Heath, Birmingham B14 7JZ
Friday, 10.02.12   Manchester Apollo   Stockport Road Ardwick Green, Manchester M12 6AP
Monday, 13.02.12   Jazz CafĂ©   5 Parkway  London, NW1 7PG
Thursday, 16 02 12   The Rosemount Hotel   459 Fitzgerald St  North Perth WA 6006
Friday, 17 02 12   Republic Bar   299 Elizabeth Street  North Hobart TAS 7000
Saturday, 18 02 12   Splore Festival   Tapapakanga Regional Park, Orere Point Manukau City
Thursday, 23 02 12   Red Bennies   373 Chapel Street  South Yarra VIC 3141
Friday, 24 02 12   Chinese Laundry   111 Sussex Street  Sydney NSW 2000
Saturday, 25 02 12   The Colonial Hotel   585 Lonsdale Street  Melbourne VIC 3000

Monday, 23 January 2012

Juice Crew Allstar's Comes To UK

Juice Crew Allstars are Coming to the UK. The only date so far up is London's HMV Forum but they will be in performing in Birmingham, Manchester and other cities across the UK.. This is one rap gig you can not miss. Big Daddy Kane, Biz Markie, Roxanne Shante, Masta Ace, Craig G and MC Shan. Missing is Marley Marl, Kool G Rap and Tready but stlll, this jam is full of heavy hitters. The dream team is here.

For More information call us on 07977 431 430
Or email:

Check out Marley Marl (House Of Hits Edition) Vol 1 mixed by Psykhomantus. Vol 2 is on

Sunday, 22 January 2012


The FBI has shut down Megaupload yesterday. Don't know yet what it means to my blog but for now the most of my downloads are down. 

WASHINGTON—The Federal Bureau of Investigation shut down Thursday one of the world’s most popular file-sharing websites,, and announced the arrest of four of the people behind it in a global crackdown against the suspected online pirates.

The move pushed the raging piracy debate to new territory: the role of online ‘lockers’ where users around the world store and share material, often times pirated movies and music. The raid came a day after Washington lawmakers were besieged by complaints about legislation designed to crack down on offshore file-sharing services. Internet sites like Wikipedia and Google Inc. protested the legislation as censorship.
The Indictment

See the court filing against

MegaUpload, which is based in Hong Kong and was knocked offline Thursday, claimed it had 50 million daily users. The site lets individuals upload files—anything from a document to a digital movie—and provide Internet links that other individuals can use to download a copy. It charges for memberships that give users faster and unlimited amounts of transfers.

Lawyers for MegaUpload couldn’t immediately be reached.

Seven people have been charged with online piracy crimes in an indictment unsealed in Northern Virginia. Four of those suspects, including the site’s alleged founder and senior executives, are already in custody, authorities said.

The four were arrested in New Zealand. Federal agents and other law enforcement agencies simultaneously moved to search bank records and server farms in multiple locations around the globe, authorities said. The charges include conspiracy to commit racketeering and criminal copyright infringement. is already engaged in a legal fight with Vivendi SA’s Universal Music Group over a promotional video featuring some UMG artists, including Kanye West, Mary J. Blige, Kim Kardashian and others. Universal filed a lawsuit to have the video removed from YouTube saying the video violated its copyrights.

The site’s chief executive has been reported to be music producer Swizz Beatz, whose real name is Kaseem Dean and who is the spouse of Alicia Keys. Mr. Dean wasn’t named in the indictment. A spokeswoman for Everest Entertainment, which is distributing an coming album by Swizz Beatz, had no immediate comment.

On a “frequently asked questions” section of the website, MegaUpload acknowledges that some have criticized its practices, but insists it is an aboveboard business. “The fact is that the vast majority of mega’s Internet traffic is legitimate, and we are here to stay. If the content industry would like to take advantage of our popularity, we are happy to enter into a dialogue,” the website reads in part.

The Justice Department paints a different picture.

According to the indictment, MegaUpload is responsible for at least $500 million in losses for the owners of the copyrights in question. The indictment calls the company “a world-wide criminal organization whose members engaged in criminal copyright infringement and money laundering on a massive scale.”

Investigators estimate that MegaUpload’s piracy business has earned them more than $175 million, according to the indictment.

Monday, 9 January 2012

ROS 4 Prince Paul

Prince Paul by

More than just a beatmaker, Prince Paul brings personality to the table: a raunchy Morgan Freeman sound alike, a sound bite from the defunct TV comedy Get A Life, or a well-timed fart joke all have made their way into his work. He also pioneered the classic rap skit, a device in which he’s employed anyone from Xzibit to Father Guido Sarducci to add a context and color to the narrative. As the Undertaker of the Gravediggaz he’s also been credited with ushering in rap’s horrorcore genre (something he deflected during our interview with an evil “Ha ha ha!” followed by a fart noise).
From his contributions as a youngin’ to Stetsasonic, to his time with De La as Plug Four, to his Handsome Boy Modeling School collab with Automator, Paul’s quirky approach is as sought after as it is copied. He’s made mad classics, and here we proudly present the 10 favorite sample flips of this conventionally unconventional clown prince among thieves.

1.    Jeru the Damaja – “Come Clean” (Payday, 1994)

Prince Paul: To me, samples freak me out most when I have the record myself but never picked up on what another producer did. This was used by Premier for Jeru’s famous “Come Clean” and is one of those cases. I was like “Yo, I’ve had that record forever but not ever even thought of using it!” No one knew around at the time really knew what it was and the first chance I got, I ran up to Preemo and said, “Shelly Manne!” [laughs] He was like, “How’d you know?” and I was like, “Just let your lawyers know that I know what that sample is!” [laughs]. That song is now obviously classic but that sample is nuts.

2.    Dr. Dre ft. Snoop Dogg – “Nuthin’ but a ‘G’ Thang” (Death Row, 1992)

Prince Paul: Dre used this for “’G’ Thang”! It freaked me out because I never envisioned it as a hip-hop song. It’s one of those that prove Dre has a good ear because he took the best, most catchy part; even though the song is already so dope standing on its own. The first time I heard it in a subway by some dude who was handing out Dre promo tapes right before The Chronic dropped. Dre’s latest work at that point was Efil4zaggin, which I loved, but this was a far cry from that sound.

3) De La Soul – “Peas Porridge” (Tommy Boy, 1991)

Prince Paul: De La’s “Peas Porridge” is one that always struck me if I do say so myself [laughs]. Our friend, Double B, found the sample off this weird children’s album and I took it and flipped it for De La on “Peas Porridge.” We were all buggin’ off it and I thought let’s make a song from it [laughs]. Samples like these are always cool to me because they’re so left field that you’d never ever think of coming across in the first place let alone taking it and making it it’s own thing.

4) DJ Jazzy Jeff & the Fresh Prince – “A Touch of Jazz” (Jive, 1987)

Prince Paul: From early on, Jazzy Jeff used Marvin Gaye’s Trouble Man record for the track “A Touch of Jazz”. It’s actually an old school break that a lot of us already heard because we all know Marvin’s incredible catalog. Again, it’s one of those where you can’t think of anyone doing anything with it even though you’ve heard it a million times. The way he flipped it was simple yet different and I can’t really recall samples being used like that – at least at that point in time. Or maybe it’s just ‘cause I love the sample so much [laughs].

5) Tribe Called Quest – “Verses From the Abstract” (Jive, 1991)

Prince Paul: Tribe’s Low End Theory used this awesome track called “Star of a Story” off Heatwave’s Central Heating album. I thought about using that but they used it in such a good, slick way that I didn’t dare touch it [laughs]! The different types of records they used and just how many layers they placed and where they placed was just so crazy. The diggin’ they do is insane.

6) Beastie Boys – “Get It Together” (Grand Royal, 1994)

Prince Paul: Speaking of Tribe and Q-Tip, that one Beastie Boys track they did together was nuts! The hook is totally ridiculous. I was listening to it and just kept listening and kept wondering who was singing. I just dropped it and kinda forgot about it until one day I’m going through my records randomly and heard it! You know how if you have tons of records you just overlook shit? It’s something I’d never ever use but they got that from that one Eugene McDaniels’ Headless Heroes of the Apocalypse. They used it for the hook and it’s so dope!

7) Diamond D ft. John Dough – “Flowin’” (Mercury, 1997)

Prince Paul: Diamond D used this and I always praised him for it. It was off his second album, Hatred, Passions and Infidelity. When you admire another producer’s work, there are always one or two songs that strike you more than others. This is a track that no one really talks about so I want to touch on it. I remember because a lot of producers talk about records in a very matter-of-fact way. And when Diamond mentioned the artist to me, I didn’t know what he was talking about. I looked at him like he was crazy and he looked at me like I was crazy! [laughs] I’m not a DJ Shadow or Pete Rock or Diamond D – these cats rattle off rare records as if everyone knows about ‘em [laughs].

8) Nelly – “Hot In Herre’” (Universal, 2002)

Prince Paul: Man, this one is a good one. I was at my place listening to the original sample for this with Doug E. Fresh trying to figure out a way to use the melodic parts. It was about a year before “Hot In Herre” came out. We were just messin’ with it and I swear it was exactly a year later this single comes out and blows the fuck up! I saw Doug E. later and he was like, “Yo you were right Paul!” and I was like “I know I was right!” [laughs]. It’s just a trip because this is one of those tracks everyone’s got in their record sleeves and Pharrell ended up flippin’ it first!

9) Wu-Tang Clan – “Wu-Tang Clan Ain’t Nuthin’ Ta F’ Wit” (Loud, 1993)

Prince Paul: RZA using this is just crazy! I was around actually when they made 36 Chambers and as a result I know that there’s a little sound effect RZA triggers to cover up parts of the actual sample. He tried hiding a scratch on the record with little shakers or claps! [laughs] And you know what? It’s actually my record! RZA used it and never gave it back [laughs]. He was at the crib making ODB’s record and I came by and saw it and said ‘Yo this is mine!’ He just looked at me and smiled [laughs]. I grabbed it right back and left! [laughs]

Psykhomantus Note: Not all tracks got recorded.

Download Link:


K-Def by

People tend to throw around the term “slept on” a little too freely in hip-hop. But in the case of producer K-Def it’s entirely fitting. The Passaic, New Jersey product – who came up under the tutelage of Marley Marl working the boards at the super-producer’s House of Hits studio in the early ’90s – boasts a discography healthy with both hits and soulfully crafted cult favorites for the likes of Lords of the Underground, Tragedy, World Renown, and Ghostface Killah. And in the ominously orchestrated string stabs of “Real Live Shit,” by Real Live – his own group with rhyme partner Larry-O – K may lay claim to one of the definitive crime rhyme tracks of the ’90s. Remarkably, his most recent output may actually include some of his best work yet. An excellent, previously unreleased LL Cool J tune rescued from his archives resides comfortably alongside his finest vintage material. An impressive ongoing series of sonically potent instrumentals for Redefinition Records – including the sublime “Supa Heath” – culminates in an EP, Night Shift, dropping this month. Thus, in an effort to help prevent the current K-Def creative renaissance from drifting undeservedly into the “slept on” lane, we felt it only right to ask the man for a list of his favorite sample flips.


1. Biz Markie – “Nobody Beats the Biz” (Prism, 1987)

K-Def: With “Nobody Beats the Biz,” Marley did his thing on it. That’s all I can really say. He did his thing on it. When I heard the “Fly Like An Eagle,” me and my boy went to like five different record shops tryin’ to find that Steve Miller Band. And when we finally got it we figured those drums from “Hihache” were in there too ’cause we didn’t know no better back then. At some point I got frustrated because I had like five different copies of Steve Miller Band Fly Like an Eagle and none of them had the break in it. So I knew that there were other record elements involved. And when I found that “Hihache” drum beat years later, I was like, Ohhhhhhh! It just seemed like those drums fit that loop and that melody so perfectly. That really motivated me to try to start combining my records together to make ‘em make sense. It was the first record I think I heard that made sense because the drums [on both records] are doing the same pattern. It wasn’t loud and dominant, but it gave it a real groovy feel.

2. Public Enemy – “Public Enemy No. 1″ (Def Jam, 1987)

K-Def: I knew James Brown stuff pretty good. The original record of “Blow Your Head” was fast as hell and it had bongos and all this other shit in it. And when I first heard “Public Enemy No. 1″ I heard the 12-inch instrumental without Chuck D rhyming on it, and I thought, that shit didn’t sound like [what I remembered "Blow Your Head" sounded like]. It sounded like they chopped up [Melvin Bliss' breakbeat classic] “Substitution,” and did their own pattern. It was a phenomenal [production to do] with that technology back then. To his day I don’t believe there’s too many people who could [re-create] that record. It was just incredible [what they did with the sample]. The swing of the drums and the way the [synth] noise just stayed there. I know looping was just starting then. At the time, sampling was a lot of 4-track taping and re-dubbing and making stuff extend. But to hear something where you couldn’t [tell] where the sample was placed it was [so seamless], I just thought that was incredibly hooked up. It was simple, but very effective.

3. A Tribe Called Quest – “Bonita Applebum” (Jive, 1990)

K-Def: When I heard the Little Feat drums [that were sampled on "Bonita Applebum"] I was like, okay that’s cool. But the RAMP shit is what kinda got me stuck on stupid. Because it sounded like Roy Ayers, but it [wasn't]. I’ll be honest with you. It took me at least 7 years after “Bonita Applebum” came out to find that [RAMP] record. That was really rare. I didn’t even know about no damn group named RAMP. I didn’t know Roy Ayers was producing other groups.
That album [Tribe's People's Instinctive Travels & The Paths of Rhythm] was the first album where you just heard some eccentricsuperraredunkulous breaks. It just got crazy because De La came with their wild shit, Jungle Brothers came with their wild shit. At that time when it came out there was nothing else out that was sampling like they was sampling on that album. Using all kinds of weird shit – using that “Luck of Lucien” shit – that break was rare as hell. They had a lot of rare stuff. It wasn’t hooked up the way it eventually was on Low End Theory and Midngiht Marauders. But, man, [it was a real] change up from how Marley, Juice Crew and EPMD and everyone else was doin’ it. Marley would either loop something and put an 808 on top and that was it. Or he would do a beat like “The Bridge” and just chop up something and that was that. And then you hear these guys come out of nowhere and they’re looping everything, and all the loops go together, collage-ing all together. It was just like a mystery with Tribe and all their stuff.

4. De La Soul – “Bitties In the BK Lounge” (Tommy Boy, 1991)

K-Def: When “Bitties” came out no one was expecting De La Soul to use that Lou Donaldson record – out of of all the records they had, the weird stuff. I know Prince Paul is the man behind the beats, but I was not expecting that. Those guys were eccentric, wearing the African symbols. It wasn’t no hard stuff. When I heard that shit and the way they rhymed on it with the girls on it and the beginning with that [horn] sound on it – it was like, what the fuck is that? And they kept it simple, raw, hard. And when they used it they made it into a story. I had to go and look for that record. When they put the credit on the album of what the sample was there was a massive hunt for it. We ain’t even gonna talk about how many other people used that break, including myself for Tragedy, Brand Nubian, a gazillion people. That [sample] is just an all-time favorite, and they were the first to use it.

5. Nas – “Represent” (Columbia, 1994)

K-Def: Wow. A mythological, mystical, put-you-in-a-daze/trance-listening-to-him-rhyme-off-that-psychedelic type of beat. I didn’t know what that sample was, but what drew me to it was the hypnotic the way Premier hooked it up. Preemo’s known for those drums. If he used those drums no matter what he puts with ‘em it usually sounds really, really good. I had that album [Illmatic] a year before it came out. And “The World Is Yours” and that track always stood out. I just felt the way he hooked it up… I didn’t know if it was a chop or a loop, or what. It’s just crazy.

6. World Renown – “How Nice I Am” (Warner Bros., 1995)

K-Def: I think that’s one of the illest piano loops. [The piano from] “The World Is Yours” is probably the only other one that brings out that same feeling in me. I told Pete [Rock], “Yo, Pete, that joint made me make this joint.” He was like, “What? What is that [sample]?!?” He was biggin’ my shit up, and I was biggin’ his shit up. “The World Is Yours” made me make “How Nice I Am.” Just because of the piano. The track is just [James Brown's] “Get Up, Get Into It, Get Involved” drums chopped up, with a piano from Chick Corea. Them two things together, along with [Tribe's] “Here’s a funky introduction about how nice I am” [vocal snippet]. I just think the piano from “How Nice I Am” was one of the illest grooves [for its time]. In the ’90s everybody else was doing filtering, and all this low end bass, and all this muddy kind of stuff. But that was a real vibrant kind of beat.
At the end of the day I had to [reveal] the sample to “How Nice I Am.” Every producer or DJ that I met was asking me, “What’s that sample?” I can’t get sued for it now, so I can give it up. [laughs]

7. Snoop Dogg – “Gin & Juice” (Death Row, 1993)

K-Def: One of my personal favorites. That was the beat that changed my life. It made me go from looking at [my music as just some] MPC shit to thinking, “How do I get my shit like that?” When you hear the George McCrae “I Get Lifted” sample, it sounds really good in there. But when you listen to everything else around it, you start to realize that it was really like a bullshit guitar sound. The sample wasn’t leading his track. That’s when I started understanding [a whole different approach]. “Gin & Juice” is definitely one of the best orchestrated records that I’ve heard. I would say it changed my life as far as how I made music, but it also changed my life as far as where I thought music would go in the ten years after that song was released. That record made me stop and [say to myself], “If I stay on the MP I’m never gonna go nowhere in life.” Because at the end of the day the sound [I was doing] was not gonna make it. If this guy [Dr. Dre] is making stuff like this, then that means the rest of these guys are gonna start making cleaner sounding records. And that’s what happened. Puffy came out, then Timbaland, and Rodney Jerkins, and Neptunes. Everything – even if it was sample based – was crystal clear. I don’t wanna get stuck in that [old] realm. I know a lot of favorite homeboy producers – that I know made hit records – who are not even doing music anymore. Because they refused to change their style. They refused to switch over, they refused to go with technology and the flow. I know how bad it is right now. And that record right there was one of the ones that made me say, time to step my game up.

8. The Notorious B.I.G. – “Who Shot Ya” (Bad Boy, 1995)

K-Def: I had an advance copy of this before it came out. All I know is, when I heard B.I.G. rhyming over that break, the first thing I thought was, I gotta go find every fuckin’ Stax record that hasn’t been put to the forefront yet. For some odd reason when I first heard that break I thought, I’m gonna find that. About six months after, I found it in Bleeker Bob’s in Manhattan and paid a hundred dollars for the shit. I came home and I listened to the break, and I listened to Biggie. “Who Shot Ya” made me make [Real Live's] “Real Live Shit.” That sample was so hot and what Biggie wrote is so dope. And it was Stax. And I’m like a Stax, David Porter and Isaac Hayes fan. I thought finding [breaks] was all over with Stax. I had that Soul Children break – that Nas “On the Real” shit. I thought that was the last of the really good Stax breaks. And then this guy comes out with “Who Shot Ya,” and I was like, damn, I still ain’t diggin’ hard enough.

9. Real Live – “The Gimmicks” (Big Beat, 1996)

K-Def: This was one beat where I can say I programmed the drums so they were actually following the bass and drums of the sample. I figured out to how to program on the MP to get the drums to follow exactly so it gave my filtered bass-lines punch. So when someone was rhyming on it, it wasn’t like you just heard a bunch of mud. And I got lucky finding a Diana Ross sample that nobody ever used. [laughs] The loop was just crazy, it was melodic, it put me in a trance. That’s a pure hip-hop beat [that really represents] the ’90s – the era when every good song that came out had a good bass-line filter with a fucking smacking drum, and maybe some loop on top and some scratching – and some good rhymes. That’s all it really took. Now it’s some other shit. But that’s what it was at that time.

10. M.O.P. – “Ante Up” (Loud, 2000)

K-Def: That’s an anthem record. The way it was chopped up, the energy behind it, the way the drums sit on it. It just reminds you of a dirty, grimy Premier record. With the intro you don’t know what to expect. And then M.O.P. comes into the song LOUD. They come in screaming! I think the last time we had records like that was Onyx or Leaders of the New School. [laughs] We missin’ that. We don’t have that in hip-hop anymore. I mean, we have it – but not how it was then.
That’s like the number one party record. If anybody plays that at a party, if that don’t get the party rockin’, get niggas up ready to move and do something, then ain’t nothing gonna rock the party – you got the wrong crowd. That’s definitely one of them records that get you up. [D.R. Period] killed it. He killed it. He killed it. KILLED IT.

Download Link:

ROS Jake One

Jake One by

Coming straight outta the Pacific Northwest repping Seattle, Washington, esteemed producer Jake One is a true hip-hop rarity: one of the few beatsmiths who can claim contributions to albums by mainstream megastars like 50 Cent and Snoop, yet still enjoys no shortage of props from purists. (Those unfamiliar with dude’s super sonic talents may wanna peep his various collabs with Freeway, or his own acclaimed White Van Music LP from a couple years back.) Recently, we caught up with the new dad between production sessions and stroller cruises (can White Mini Van Music be far behind?) to ask him what his ten favorite sample flips are. Much like his own diverse output his picks run the gamut.

1.    Jay-Z – “Never Change” (Roc-A-Fella, 2001)

JAKE ONE: Coming from the record collecting/D.I.T.C./we-must-have-the-rarest-records-era, when you think about sampling David Ruffin it’s like [unimpressed], oh yeah, David Ruffin that’s cool. But then you heard the Jay-Z song, and it’s just the shit. I think I had the David Ruffin record at the time this came out. It’s not the craziest chop, but what Kanye did was exactly what needed to be done with that record. That’s kind of what he does in general. He’s not gonna wow you with technique, but he’s got the perfect feel for how to put the shit together. It’s definitely not a loop because I don’t think there’s any one part that just plays all the way through. He might use two bars at one point, and then he takes another one bar later in the song, and then he puts the little vocal sample in there every once in a while. I don’t know, to me that shit is fuckin’ great. Some people just have a knack for it. I think he’s underrated in that aspect. When you’re dope you can make something really filthy out of like three sounds. He’s one of those guys. He’ll just literally have a drum loop he chopped up and a sample and that’s the beat.

2.    Madvillain “Fancy Clown” (Stones Throw, 2004)

JAKE ONE: Man, this Madvillain record was one of those I had the original sample for and I even made a beat out of it, but it just wasn’t nowhere near as good. [laughs] You know, as a producer when somebody uses a sample you already touched you just automatically hate on it off the top for no reason. We all do that. But this shit – I don’t know, it just was so dope to me I just had to give it up. I felt like, okay, you slaughtered me with this one. Madlib has this knack for doing the super grungy, lo-fi, sloppy shit. That beat sounds all fucked up. But that shit is great to me. When I used the sample I was trying to make it way cleaner and glossier. I probably did that in the early 2000s at some point. I might have even had that dumb-ass triangle sweep sound that the Triton had. I was trying to make it sound like it might have been on The Blueprint. It was cool. But it was not dope like that shit.

3.    Kurupt “We Can Freak It” (Antra, 1998)

JAKE ONE: It’s actually an interpolation Battlecat did. It’s one of those songs that’s always been a big song West Coast wise, it’s kinda like a classic. I always liked the song and when I randomly stumbled upon the Raydio thing I was kinda like, wow, that was really clever how he did that shit. Battlecat’s one of the best dudes ever at replaying shit and maintaining his own sound. It’s like he’s doing a cover version of it but it sounds like his shit no matter what he’s re-doing. He totally maintains the integrity and feel of that kind of music. And that shit is a lot harder than people think it is – to do replays and put your own spin on it and make it yours. He’s definitely one of my favorite producers. This is something that people will listen to and be like [dismissively], oh, that’s a keyboard beat. But it’s rooted in hip-hop and samples. Fuckin’ filthy.

4.    Above the Law – “Livin’ Like Hustlers” (Ruthless, 1990)

JAKE ONE: This has the feel of the N.W.A era/D.O.C.-era Dre. And it’s just one of these sample collages that’s just fuckin’ the shit. That’s one thing that’s totally been lost in the 2000s: the idea that you can put ten records together and make it something different – probably just because to clear that record would cost so much money to do it that way. But I think it’s way harder than people realize. He’s got the Quincy Jones thing, which is the main part. Then on the chorus part, which is my favorite part, he puts in James Brown, and all this random shit. There’s “Big Beat” in there. And there’s a vocal sample too. It’s just filthy, man. And it just flows so dope back into the other part. It’s like a flawless blend. Back then they didn’t have time stretchin’ or none of that shit. So he’s somehow getting all these things in key. Just basically just doing it 4-track style on the turntables. The Public Enemy approach, but he brought his own thing to that style.

5.    WC & the MAAD Circle – “You Don’t Work, U Don’t Eat” (Priority, 1991)

JAKE ONE: It’s a Parliament song, it’s “More Bounce,” it’s “God Make Me Funky” – there’s about ten records in this one. It’s another one of those songs where it’s just the way it’s put together. When I was listening to songs like this as a kid I didn’t understand anything about samples or breaks or anything about how they were doing this. I just remember just thinking that beat was so dope. I like the whole album but this one in particular. The records from this era have a little bit of everything. They might have a main loop that drives the song, but there’s always other parts that came into it and went out. It’s always dope how they used to do that. Like on this song when MC Eiht comes in they just start scratching in random samples he’s already rapped over. That’s not happening now. [laughs]
I did some stuff like that on my album and I got sued. Over dumb shit. Not over even anything that was important. Little dumb shit like that I put in there I got in trouble for. That shit kills you. I got sued for like four different things. And it’s all the Internet. You have these websites – whosampled and the-breaks. And people are just into the music, so they’re hyped about finding samples. But all these artists have a Google alert which is leading them to the treasure chest. That’s all people are doing when you do that on line. At least misspell the name or some shit.

6.    Gang Starr “Above the Clouds” (Noo Trybe, 1998)

JAKE ONE: Premier probably inspired me with chopping more than anybody. I coulda listed so many of his. I remember when that beat came out I listened to the song over and over and over. And then when I found the record he sampled, I was just like, man, this record is so dumb – how did he even just listen to this and find this part and put it with these drums. I don’t know. He’s just the best ever at that – taking just some miniscule shit that’s not really great on its own and making it great. He just has such a sound. To me, that was one thing as a producer that I always wanted to be able to do was take all these things from different sources but make it your shit. No matter what Premier sampled it sounded like Premier. And I think when you get to that point that’s when you get really good. He was just amazing with that shit.

7.    Ghostface Killah – “Be This Way” (Def Jam, 2004)

JAKE ONE: I think what’s dope about it is Nottz didn’t take that much of the record, he took the vocals and the strings. But it’s the drums he put behind it and the bass line. It’s just a hard ass beat, man. Nottz is like a good friend of mine. So I have all kinds of beats of his. He left me a whole beat CD of all Curtis Mayfield sampled stuff. And shit will all be dope. [laughs] So like he just has his formula he does, the way his drums sound and the bass lines – it’s just amazing, man. He’s the shit.
It’s funny when I started trying to do major label shit, him and Alchemist were my role models of what I wanted to do. They would just end up with songs on all these random albums that were big, but they’re shit didn’t sound like the rest of the albums. They would have the one dope song on there. They’re doing shit that’s hip-hop but it sounds big without sounding corny – which is a fine line. There’s big like Puffy with his triangles. And then there’s Just Blaze big. Nottz, Bink big. So they made a good career just making those types of cuts, and I was definitely trying to follow in their footsteps with that.

8.    Slum Village “Fall In Love” (Goodvibe, 2000)

JAKE ONE: Another one of these classic two instrument beats. They’re both loops. He looped the Iron Butterfly drums, which a bunch of folks used, and then the Gap Mangione sample. That was a record I had. I think I sampled the beginning part and never even listened into the song to hear the best part. But it’s just a great record. And that’s what makes him the shit: he knew exactly what the right thing to do was depending on what the sample was. That, and just his constant sense of timing. It just sounded good rocking with the drums and the loop. A lot of other, more complicated beats of his people couldn’t even reconstruct them if they tried. But it was all his sound. A lot of Fantastic Vol. 2 is loops, but with the drums he put on there, the bass lines, it all just worked.
I was trying to think with him what would be like the best chop, but I don’t know. There’s so many of his. And with a lot to his songs the rappers might not be the greatest, but the beats are so dope I just like ’em anyways. With Slum Village as a whole I just thought they had a great chemistry over those beats. They might not be good on other people’s beats. But the way they rapped on his shit was probably better than getting whoever the super-ass rapper dude was at the time over them. It was just that chemistry.

9.    Pete Rock & C.L. Smooth – “For Pete’s Sake” (Elektra, 1992)

JAKE ONE: Pete Rock is probably the best to me at putting samples together as far as harmonizing everything that I’ve ever heard. I don’t even know how many samples he’s got in there. But they all sound like they’re in key with each other. The main part is Freddie McCoy. Then there’s an Eddie Harris part in there. He puts the fuckin’ Sly Stone horns in there for no reason. [laughs] The scratches, everything. And “Substitution” again for the drums. How many times has that been used? But it just works. Like I said, listening to stuff when I was young I didn’t even know what the fuck he was doing. I was just like, man, this shit sounds crazy, I like it. You start getting into figuring out the science behind it and you’re like, that shit is hella hard to do!

10. Freeway “When They Remember” (Roc-A-Fella, 2007)

JAKE ONE: It’s a Gladys Knight sample and it’s really just a loop, but he went in there and put these live drums behind it that just make the shit sound amazing to me. It’s one of those where I could listen to that beat all day. It’s a random album cut. But that tends to be the shit I like the most. Usually like somebody putting live drums on a sample is not gonna be dope to me. But that shit is just fuckin’ ridiculous. And I actually talked to Free about the song. He said the drums that were there first did he didn’t like, really. So Bink went in there and started playing the drums, and all of the sudden it was the shit. I wish I’d been able to witness that. That’d have been pretty dope. Definitely something I wouldn’t have been capable of.

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