The co-founder, along with Diamond D and Lord Finesse, of the revered Diggin' In the Crates crew, Showbiz is a true real-deal-hip-hop hero. I had never heard nothing like it – just the shock alone of hearing something that loud and rowdy. Showbiz: I’m just going with the records that kinda had me buggin’ – listening to them and saying, this is a new sound for music.
If you listen to my remix for [Finesse’s] “Return of the Funky Man” and all that – those are jazz records but I used ’em to try to make ’em hard and funky and dark. A Tribe Called Quest — 'Beats, Rhymes & Life' 20th Anniversary Mix by Chris Read (AUDIO). Sometimes [that will help] if you just listening to a whole record and there’s just a little part that just stick out, and then you can take and make it something hot.
I just remember giving him the song to remix and he just took it to the next level, ya knawmean?
I actually thought it was part of the same record [as Weather Report] when I first heard it.
It was such a simple sample, but the way he put it together and the way he put the drums together and the way Rob put that song together, it’s just a [perfect] marriage.


So through [“Droppin’ Science”] I kinda got an idea that jazz records don’t have to be smooth.
A brain-staining synthesis of chirpy horns and brooding bass, Showbiz & AG's 1992 debut LP Runaway Slave remains one of the most adventurously out yet sonically hardcore hip-hop albums of all-time (its worthy follow-ups, Goodfellas and Full Scale, are none too shabby either). And I’d never seen that album [the sample is from, Sho Is Funky Down Here] until after they used it.
Diamond and I was in my house and we was smoking some weed and I was playing old jazz records and we just let the records play out. He put the cassette on (that’s cassette days!) and he was like, “Yo – listen to Tribe album.” After I heard “Butter”… I mean, I’d never heard anyone sample that type of music before, basically. 1.” But I’m really putting [“Rebel”] in my list because it just brought me to a time when Public Enemy was just on top of their game as far as being creative. I guess Finesse was used to b-boy shit and that was more jazzy smooth, [even though] the drums was hard. With the recent 20th(!) anniversary of Slave's release nearly coinciding with a brand new Showbiz & AG album (the forthcoming Mugshot Music) we could not resist the chance to coax a favorite sample flips list from one of our longtime favorite beatsmiths.
And that’s how I came across the sample for “Party Groove,” the Brother Jack McDuff joint, ya knawmean?


The way the bass line was going and the instrumentation, it was just a new way of hearing music. But that’s what DJs did in the '70s and '80s did – they just listened to the record and they took the best part, and they just cut it. And then put the Rakim joint – the hook [“Knockin’ n*ggas off, knockin’ n*ggas out”], that was real crazy. I found out he used Lou Donaldson [for “Droppin’ Science”] years later – after Gang Starr and Tribe and them was using jazz.
It was definitely one of the nicest samples I ever heard somebody flip, especially from my camp.



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