The production duo known as Cookin' Soul with an excellent mix of treats from their Japanese diggin' adventures, in promotion of their Japan tour.
Insightful interview with the co-creator of Ultimate Breaks and Beats, Break Beat Lou. Even after reading the article a few times over, I still don't understand how UBB was/is considered legal. Either Break Beat Lou doesn't understand copyright law, or I don't. One of us has to be wrong here.
"Everyone from J Dilla to Premier to Pete Rock to Just Blaze to everybody and their mother had used the Ultimate Breaks and Beats in some aspect. In certain situations people are cool about it. I had one run in when, may he rest in peace, DJ EZ-Rock, I ran into him at the release party of the “It Takes Two” album and I asked him what was the idea behind the “It Takes Two” joint. [He was like] “yeah, we were in the studio and we chopped it up.” Really son? This is how you’re going to come to me? The intro is from side B, the main part is from side A and you’re gonna try to tell me that you created that? C’mon son, leave me alone.
Stuff like that made it a little difficult for me. At the same time though, I received accolades from [Bomb Squad producer] Bill Stephany when they were doing the PE album, they were listening to my records. I had a situation where Hank Shocklee and I met for the first time before he released Son of Bazerk and he was like, “yo, I gotta do something for you. Come edit my Son of Bazerk record for me.” You got guys like Young Guru from Rocafella, he calls me his mentor. Crazy stuff like that speaks volumes to me in the long run. I didn’t know what kind of impact [UBB] had until I came back into the game in 2009." - Break Beat Lou
Read the full interview HERE.
Here is a very informative discussion panel with Thes One (who apparently is an SC alum) and Oliver Wang talking about the history of sampling, production equipment, copyright law, the ethics of sampling, and other related topics. I think most of you will find quite a few provocative topics to keep your attention throughout. Two topics of note that I particularly found of interest.
1. Thes One's perspective on how crate diggers such as himself (who were not apart of the early 90s NYC scene) were/are viewed by the classic producers from that era (Pete Rock, Primo, DITC, Beatminerz, etc).
2. Thes One's honesty about the ethics of sampling. "It's wrong, but so is spraying graffiti on the side of a building. That's hip hop. I know it's wrong, but it's what I do. I don't know how to play the piano."
"This 90 minute recording falls right in the middle of peak time for Kid Capri’s set sometime in 1990. It starts with Kid warming up the crowd with some Keith Sweat, at :25 opening the mic to let everyone know “aw yeah, it’s the Kid Capri, c’mon!” followed by more uptown R&B flavor with “The Blues” by Tony! Toni! Tone! At 5:31, Kid ends the R&B warm-up by dropping the music and playing a sound fx transition, the sound of a jet engine, followed immediately with the intro to A Tribe Called Quest’s “Bonita Applebum,” over which he re-introduces himself: “Ay yes it’s the Kid Capri… as we get on the smooth side of things right now, in the Powerhouse… would like to welcome Q-Tip to the place… as we do it like this!” The record drops in on time… and the party is on...." Read the rest of the article HERE.
J. Rocc spinning a live hip hop set in promotion of his and MED's Axel F Theme Music LP. J. Rocc promoting new music is usually a good thing for us mix heads because it means lots of live mixes for us to consume :) Mix begins at the 1 hour 22 minute mark.