I Think It's Gonna Work Out Fine

Like the rest of you, we've got Mayer Hawthorne's insanely catchy debut single on repeat. "Just Ain't Gonna Work Out" is an example of everything that's good about contemporary soul music. Built on the "Get Out My Life, Woman" drums and Hawthorne's homespun harmonies, it's a doo-wop inspired breakup song that's oddly uplifting and decidedly endearing. The single has already become a sought-after collector's item not only for the quality music, but the killer format: Stones Throw released it as a strictly limited heart-shaped 10" reminiscent of the Manhattans' version of "You Send Me". We're looking forward to big things from the talented Mr. Hawthorne in the coming year, (no album til at least spring, plenty of time to practice your falsetto) so we decided to ask him a few questions.

What’s your musical background? When and how did you first get involved in music? What instruments do you play?
My Dad is a great Bassist and he taught me how to play when I was young. My Mom made me take piano lessons which I hated and quit. Now I wish I woulda stuck with it! I love playing the Drums too. I try to play as many instruments as I can on the album.

Talk about your upbringing in Michigan and how Detroit’s music scene affected you.
Detroit breeds many of the best musicians / artists in the world. I’m very fortunate to have grown up in a place with such a rich musical history, and with so much soul. Hopefully that soul comes through in my music.

What soul music are you listening to lately; any direct influences on the sound of the track?
Lately I’ve just been going back through the Motown catalog and discovering a lot of amazing songs that weren’t very popular when they were released but are just as good as some of the biggest hits. A lot of Smokey Robinson, Martha & The Vandellas and The Marvelettes.

Who are some of your favorite falsetto singers/ jams?
Obviously Smokey is a huge influence. Curtis Mayfield and Eddie Holman are also favorites.

How did you record this track? Sounds like a 4-track or something dusty.
I record almost everything in my bedroom at home. It’s very lo-fi. Most modern recording equipment is too good for the sound I like. I sing a lot of the vocals through a pair of old headphones.

Was “Just Ain’t Gonna Work Out” written about a specific instance?
I broke up with my girlfriend recently and everyone thinks the song is about her, but I actually wrote it before I even met her.

Explain the making of the song, your intent and the process behind the music and lyrics.
All the songs just kind of pop into my head. A lot of times I feel like I don’t even write them. When I wrote “Just Ain’t Gonna Work Out” I was driving to a friend’s house in Detroit and the whole thing just came to me. It started as sort of a joke, just for my family and friends. I never planned for a career singing doo-wop.

How was the decision made to do the limited press on heart-shaped vinyl?
I’m extremely fortunate to be working with a label like Stones Throw. They’re very open minded and supportive of new ideas. I asked them if they would press the single on red, heart-shaped vinyl because the songs were both about love. I was kind of surprised when they said yes. Thanks to Joey Jointz for making it happen!

How do you feel about your songs being tagged as “retro”?
People are always going to try to label you so it doesn’t bother me. It’s important for me to update it though - I’m not just making retro soul.

If/ when you play live will it be over pre-recorded beats or with a band + backup singers?
I’ve got a great live band assembled from my favorite Michigan musicians.

Tell us the story about how you got onboard with Stones Throw? What was the initial reaction to your music?
I was introduced to PB Wolf at a party in LA. He asked me to send him some tracks and at first he didn’t understand what they were. He thought they might be re-edits of some songs from the 60s. Once he realized that they were new, and that I wrote, played, sang and recorded them, he offered me a deal with Stones Throw.

Talk about the podcast you put together for the label. Are these just your favorite tracks or what you’re listening to right now? What are your absolute favorites on the podcast?
I’m always discovering new songs and my favorites are constantly changing. The podcast was a combination of past and current favorites. It was just a brief look at some of my influences. I’m working on a soul 45 mix with Wolf right now for our upcoming Spring tours.
Check out the podcast

How does it feel to get props from Gilles Peterson and Mark Ronson?
It’s a great feeling to get a compliment from someone you respect. Mark and Gilles are both very talented and influential – so it’s definitely a blessing.

Do you make other types of music, or is this soulful crooning style your main thing?
I’m one third of a hip-hop/electro/soul crew called Now On – we just released a new album called “Tomorrow Already” which I’m really proud of. I’m definitely into all kinds of music so who knows? I’ll do anything and everything I feel like I can get away with.

Working on a full length? What can we expect from it and is there an expected time it’ll drop?
I’m currently recording my debut full length for Stones Throw – look for it in Spring 09.

For the truly disconnected, here's the track:


Photo By Doug Coombe, Interview by Nate LeBlanc and David Ma.

sugar on my tongue

I can’t believe it’s taken me this long to touch on Sugar Simone. “King Without A Throne” has been a consistent favorite of mine forever.

Born in Jamaica, Keith “Sugar” Simone rose to local prominence as a gospel singer and left for Britain in ‘61 to further his schooling. He became an engineer while singing on the side, juggling both worlds respectively until 1963 where he auditioned at Old Planetone Studios. There, he met Alan Crawford, a radio exec who signed Simone to Carnival Records. After cutting a half-dozen singles for Carnival, Simone signed to Island Records where he recorded some of his most well known works as Sugar Simone (he would also record under the name Tito Simon, but those fall under the boring category).

Simone was always more popular oversees than in the states, touring Germany, Italy, Spain, Portugal, and Switzerland until the ‘70s. As far as I know, he only cut one LP as Sugar Simone (Alive & Well, kinda lackluster, shown above), profited slightly off a handful of dope 45s, and later signed to Beacon Records where he made more singles and released a few LPs as Tito Simon. But his late ‘60s singles are the most sugary. Here they are.

His first and most famous single, “King Without A Throne”, for Island Records in 1967. Notice the jacked “Stand By Me” bassline.

“Take It Easy”, another nice late ‘60s cut, all rhythm and horns galore!

“I Want To Know”, the other really slick 45 he made for Trojan.

A Daptone X-Mas

A collection of Christmas songs that don't sound like Christmas songs! Thanks Daptone!

Clickity Clack Here To Hear!!!

Knocking Hustles

I don't know what's funnier, this cat advertising his MPC for sale as "Prefuse 73's MPC", or if Prefuse's MPC in fact looks like this.

Kanye West x Fingerbangerz "Heartless (Cutso Remix)"

I recently posted this video on the FINGERBANGERZTV YouTube channel. Initially, I had done this remix to beef up the original so that I can play it during a prime time club set. The original version is a bit on the mellow side, so I added some balls to it. Turns out I got a little carried away. The remix has been getting great reviews (not to mention a few haters) and has been posted on numerous blogs as being "better than the OG (version)". Usually, I make everyone follow the instructions on the video, but since not everyone that reads this blog has a myspace or youtube profile, I've decided to just go on an post it here.

RIP MC Breed

Michigan rapper MC Breed will be remembered for "Ain't No Future In Yo' Frontin'", a real nostalgic track from my middle-school days. Breed was prolific and well-known, dabbling in different rap scenes across the country for almost two decades. He was also one of the first cats to give Pac some shine. He reportedly died of kidney failure yesterday after being hospitalized a week or so ago. He was only 36. RIP to the B, the R, and the double E, D.

Run DMC on Reading: "A Very Fresh Way To Learn"

Here's a clip I found while cruising on Notes From A Different Kitchen, which is one of my favorite blogs on the planet. Here's Run DMC and Jam Master Jay (R.I.P.) on Reading Rainbow circa 1986-or 87. Notice the sorta awkward vibe at the end of the "Peter Piper" reading segment. Kinda funny!

Rec Room Era: The Making of Liquid Swords

I'm proud (more like geeked!) to present my interview with the one-and-only GZA. Liquid Swords is one of my all time favorites, and here, I have GZA talk about the time and mindstate he was in while making the stunning classic. He was also real generous with his time, breaking down each track with odd details and insight. Read it right HERE!!!

Shouts to Brian Digenti and Heathcliff Berru for making it happen!

"It was Lead Belly first." - Janis Joplin

(Woodie Guthrie, left, and Lead Belly, right, confusing wide-eyed white folks in 1939)

Huddie “Lead Belly” Ledbetter is said to have gotten his nickname for the amount of homemade liquor he could drink. Others stories said he was shot in the stomach with a shotgun and survived. Nevertheless, Lead Belly was an early American blues singer who played the guitar, accordion, piano, and violin. His life, eventful as it was, has been mythologized, celebrated, and revered for almost a century. His writings had Guthrie-like political leanings, and his songs have been covered by Curt Cobain, Led Zeppelin, The White Stripes, Brian Ferry, ABBA, and Tom Waits among many others. Bob Dylan and Pete Seager have cited him as an influence on their own music also. He’s an American original, heroic even, but is rarely acknowledged though his songs are easily recognizable.

(Lead Belly was stabbed in the neck while in prison, which is said to be the reason for the bandanna and other neck gear he always wore)

Born in Louisiana in 1888, he picked cotton as a child, lived poor, and endured the tenets of Jim Crow. In his twenties, he went to prison for killing a relative. He was pardoned and returned to prison for attempted homicide shortly after, this time, for knifing a man. Legend says that government officials regularly brought guests to watch Lead Belly perform during his four total incarcerations. At one of his performances in prison, he was discovered by John Lomax, a Harvard-trained musicologist. Lomax introduced Leadbelly to American audiences of the 1930s and 1940s through his contacts and writings. Lead Belly was able to tour the country and would later be known as “King Of The 12-String Guitar”. He achieved even greater acclaim when Life magazine ran a three-page article titled, "Lead Belly - Bad Nigger Makes Good Minstrel”.

("Lead Belly is probably the only ex-felon who successfully wrote a children's album" -Bob Dylan)

In 1949, days before he was to perform in France, Lead Belly fell ill, dying shortly after of Lou Gehrig’s disease. Like most early African American artists, Lead Belly never saw a dime from record sales and died without due spoils of his success. But his songbook survives and remains a resource of history, and music, that’ll be sifted through forever. Here are a couple of his well-known standards.

"Where Did You Sleep Last Night", made famous by Curt Cobain on Nirvana's Unplugged album.


"Goodnight Irene" or "Irene "is one of Lead Belly's most famous and widely covered songs. It was redone by Pete Seager's band, The Weavers, where it was a hit in the 1950s.


Below is Tom Waits' brilliant version of "Goodnight Irene", sung in typical drunken, defeated fashion. It's matches Lead Belly's sentiment perfectly.


**There's an abundance of Lead Belly info. Here are some resources if you're interested in knowing more about this American originator and his music.

1.800.PeePee.5.1.DooDoo

Everything feels dwarfed by the recent election (as it should!). I mean, how insignificant does an interview with a now-shitty rapper seem? But it's Kool Keith and I can't let my euphoria turn into laziness, so here we are.Here's a short piece I did on Keith for The Metro a few weeks back that just hit stands yesterday. As a huge fan at one point, I was real stoked to talk to him. If you're a fan, you can read it right here. It's a bit vague, so if you're a super-fan, check waxpoetics.com (in a few months!) for a super in-depth article on Keith, where we talk about Paul C, Ultramag, rhyme-patterns, and outerspace doo doo pistols.

*Here's an oldie-but-goodie from Keith. It's off Automator's (A Much) Better Tomorrow. It's classic Keith recorded either slightly before or during the Octagon era. It's a personal favorite and is a good example of Keith's quirky writing. It's called "Cartoon Capers".

yesssss.

The Fingerbangerz X Jabbawockeez-"Missing You (Remix)" mp3 giveaway!

Watch the video and follow the instructions:




DON'T FORGET TO GET YOUR ASSES OUT TO VOTE TOMORROW. OUR FUTURE DEPENDS ON IT. HOLLER.

one day away

Tomorrow could be the best (or worst) day ever. Shake them titties when you vote bitch.

the styling is creative, Black Sheep of the Native

Dres (of Black Sheep) was an emcee to check for in the early '90s. Black Sheep's most famous track, "The Choice Is Yours" was a 6th grade favorite, and in a time where "choice" matters, it's back.

Dres apparently just reworked "The Choice Is Yours" to fit the recent political frenzy. Maybe it's a bit late, maybe it's too easy, and maybe dude could do more than just remake an old hit--but the song reminds me of simpler times, is timely itself, and very nostalgic. It's worth a listen if you were a fan and, at least it's not pro-McCain. Above is the new video for it, and below is the press release they sent me, followed by the exclusive track for download (...pick it up, pick it up, pick it up!):

Austin, TX - October 29, 2008 - Dres of the platinum-selling hip hop group Black Sheep has revitalized the 1991 hit "The Choice is Yours", rewriting lyrics and donating his time and services to create an innovative pro-Obama voter initiative video. Partnered with Austin based creative teams at Voodoo Cowboy Entertainment and Super!Alright! Media in an all-volunteer effort, Dres re-recorded and shot the updated version of "The Choice is Yours" in Austin, Texas in just under two days.

"When I was younger I was told that I could be president if I wanted to, but for the first time in my life I believe it. It's an honor to work with this talented artist collective and to do my part in support of the Obama campaign and towards becoming the America that truly has liberty and justice for all". -Dres

undercover cover

Clocking in at a minute-and-a-half, “Stay” by Maurice Williams and The Zodiacs is said to be the shortest song ever to be #1 on the American pop charts. It's super-popular and is a song everyone knows because it so catchy, and is also likely why its been covered so many times. Above is an early promo picture of Mr. Maurice before landing his huge hit.

Of all the cover versions by all the artists—Cindy Lauper, The Hollies, The Four Seasons, The Diamonds, Jackson Browne and others—I had never heard this northern soul version before. It's by a UK pop/soul group called The Virginia Wolves and is the most upbeat of all the versions.

***It's jumpy, full of thump, and has a clap-a-long break too. PLUS, the bassline is real nice. And there's horns. And it all fits neatly in under 2-minutes. Audio is low, so turn it way up!

sad bastard blues

Chris Jackson’s work was released on Soul City Records. Besides that, I can’t find anything on him (hit us up if you have any info!). "Little" Jimmy Scott on the other hand has had a long, illustrious, and fully documented career.

“Forever I’ll Stay With You” by Chris Jackson is so endearing. It doesn't knock, nor is it especially unique. But Jackson sounds so desperate and is totally unflinching about it. The fact that he isn’t particularly that great of a vocalist adds even more character. Some singers sound gruff, some sound smooth, some powerful, but Jackson sounds nerdy, and it works.


And if Jackson isn’t soft enough, "Little" Jimmy Scott says, “It’ll rain 40 days and nights” from his "eyes” if his girl leaves him, on his late ‘60s hit, “40 Days and 40 Nights”. It's upbeat for a sad song, and the lyrics are typical of the time, but I like the way Scott delivers on this one. Dude's heartbroken and doesn't care who knows. Get a grip man.


Check these out if you’re in the mood for great sad bastard soul tracks.***The great "Little" Jimmy Scott, pictured above.

...and to my rescue, it was an S1W: Chuck D, the '68 Olympics

Last week, your WTTM fam shot over to San Jose State University to catch Chuck D. He covered topics like the upcoming election, race, and commemorated the statement made by Tommie Smith and John Carlos on the winner's stand at the 1968 Olympics in Mexico City. October 16th marked the fortieth anniversary of this controversial, but moving statement. The image of their protest has left an indelible mark in civil rights history. Read on it hurr.

In other Public Enemy/power fighting news, the Security of the First World has been officially recalled into duty. We found the following article timely. Holler at The Onion.

Brooklyn Represent

Menahan Street Band's excellent debut, Make The Road By Walking, came out a few days ago. I interviewed Tommy Brenneck, producer and bandleader behind the group for Wax Poetics' new issue #31.
Besides being one the year's best releases, Tommy also explained the sense of community that underpins the project. PS 20, an elementary school in Clinton Hill, Brooklyn, invited the Menahan Street Band to watch their music students perform "Make The Road By Walking", the track which Jay-Z also sampled for "Roc Boys (and the winner is...)". Below is the homevideo footage of Clinton Hill's 4th and 5th grade music students' performance of "Make The Road By Walking".

"The whole thing with the school is [like] giving back to the community. We were amazed and everyone involved in the project went. Most schools can’t afford music programs anymore and these kids chose to to pick up instruments and played our song. And they were actually enjoying it too! Their performance was unbelievable! They were amazed and asked us how we wrote these songs, and we were like: all you guys can, and will, do it one day too." -Tommy Brenneck

***For more info on Menahan Street Band, or to purchase Make The Road By Walking (highly recommended!) please visit Daptone's website.

heads up seven up

Controller 7 interview + South Paw Symphony (Controller 7 mix!) by Buddy Peace!

The Bay Area’s own Controller 7 let us pick his brain a bit, allowing us to cover some hometown history and future plans. Humble and to the point, he breaks down his early path in music, his beatmaking process, and the making of his enjoyable ’02 release, Left Handed Straw. Here are seven questions and answers with the low-key beatsmith.

1.) How did you get involved in making beats?
I started with cassettes from The Colombia House music club. I then started buying cds [when they were still in the long boxes]. I bought a few hip-hop 12-inches when I was about 15 or 16, but I didn't have a turntable. I would sneak into my brother’s room and record them onto tape when he was gone. He had one of those crappy all in one stereos that had a turntable on top. I eventually got more and decided to get my own turntable. I had a crappy 8-track cassette receiver that I used for my stereo. It had an aux input and a phono input and I was able to push a button halfway down, allowing both a cd player and a turntable to play at the same time. It was like a mixer without separate channels or faders. I was hooked and shortly after bought some 1200s. I bought them from the classifieds in the newspaper when I was 16 or 17 and I still use the same 1200s today. Eventually I decided I wanted to make my own beats. I bought a Roland MS-1 sampler, which is a terrible sampler. I remember telling my parents that "all I need now is a drum machine and I'll be able to make beats." I bought a Roland DR-5 or something like that. Also terrible. It was a bad combo and wasn't what I wanted.

I used to shop at Tower Records a lot and I met Dave Dub, who had been on an early Peanut Butter Wolf EP. He worked there and we used to talk whenever I’d go in there. He was in a group with this guy named Tape Master Steph. They knew I had a Tascam 4-track and asked if they could come over and record a song. Steph brought over his Ensoniq EPS and I was blown away. It sampled and had a sequencer! That was amazing to me. I found one at a used shop, sold the ms-1 and the dr-5 and moved onto the EPS. That's how it all started for me.

2.) Walk new producers through your production process.
I've gone through different phases. When I first started I was just really innocent and didn't know what I was doing. I would get so excited to hear something looping and throw some drums on it. I would make beats really fast.

These days I actually take more time and plan things better. I used to just grab stuff and make a beat in an hour or so. There was definitely a benefit to that. It was fun and carefree and I didn't get hung up on minor details. Now I'll spend more time trying to get things right. I like to figure out the whole map of the song ahead of time. Almost like an outline for an essay.

I usually start with a main sample. Sometimes I’ll start with drums, but I usually start with the sample first. I’ll go through tons of records and look for things that work well with what I’ve already got. Sometimes I'll spend days, months, or even years looking for something that I think is missing. A lot of the time I just never find that missing element. That's kind of what differentiates a beat and a song for me. Some samples are more flexible and allow me to develop on them and the ideas come naturally. Sometimes I'll be working on something and there is just nothing I can add to change it. So, in those cases I usually just decide that that one will be just a "beat" and not a "song" if that makes any sense.

3) Left Handed Straw is a great album; the artwork, everything was smooth.Talk about making it and describe the time in which it was made.
I made Left Handed Straw when I was going to Berkeley. I was so excited about music then and I was eager to work on anything I could. I made most of that stuff really fast. The funny thing is that a lot of the beats were made in an hour or so, but piecing the whole album together took about 6 months. I had most of the individual parts done, but I would spend 3 or 4 days getting the transition from one beat to another right. Sometimes there would be a drop in record static or something that just felt wrong to me and I'd go back in and add little things to make it sound more seamless. I'd add little things that you don't really hear, but help the overall flow sound more natural.

I made it using a 4-track and an mpc2000. The funny thing about the 4-track was that once I finished a section I was stuck with it. It wasn't like pro tools where I could easily take a chunk from the beginning and move it to the end. So, when you listen to LHS you are listening to how it came together over the 6-month period. I laid out the first 10-minutes while I was on Christmas break in 1999. I was originally piecing it all together as a mixtape for my friends to listen to. It was like a combo of all these beats I'd made over the past year and a bunch of little skits and records I had sampled for other projects. I made a lot of stuff specifically for LHS and specifically to fill in certain spaces. I had a micro-cassette recorder to record lectures at school, but I ended up using it to record sounds all over Berkeley. A lot of that stuff ended up creating the atmosphere of the record. There are a lot of things on that record that embarrass me, but I still enjoy it for what it is.

4.) As a producer, what is your dream project?
I used to want to make some magnum opus sample based epic masterpiece, but I'm not all that concerned with that these days. I'd like to make a whole album with a vocalist, but I've never really found a good fit. I'm slowly working on a few projects right now. I don't have any real dream project. I'm just happy working on stuff I like to listen to. I'm not trying to be famous. I just want to make stuff that people respect and enjoy.
5.) How did Buddy Peace’s South Paw Symphony happen?
Buddy Peace bought a t-shirt off of me about 7 years ago. We ended up talking through email and he sent me a cassette he made of some remixes and mixes. I really liked it. It had some great stuff on it. We've kept in touch since then and he's probably sent me about 30 other mix cds. He's crazy. I actually can't remember if he asked me if he could do the South Paw Symphony thing or if he just did it. It was right after my "expansions" ep came out. He did a great job. It's kind of like his take on my music. It's more than just a mix. He did some re-edits and made some tracks of his own using my songs. He's an incredibly nice guy.

***Buddy Peace's South Paw Symphony in its entirety below. Thanks Bud!

6.) What’s a cool, obscure track you think our readers should check out?
Dennis Olivieri ‘s "I Cry In The Morning". It was made famous because DJ Shadow sampled it for 6 Days, but the original is amazing. It's just a beautiful song.

***Hear “I Cry In The Morning”.


7.) What’s on your plate next?
I'm just going to keep doing what I'm doing. I've been on a bit of a musical vacation. I haven't put anything out in awhile, but I've got some stuff done. Hopefully I'll get some stuff out soon. I've got about two albums worth of stuff done. One is more of a collection of beats and out-takes from the past 7-years and the other is more of a focused album, along the lines of an updated Left Handed Straw. I've got some mixes done too. Some half-done. Some ideas still in my head.

***For more info on Controller 7 and his releases pictured above, please visit Controller 7.com

***To find out more about Buddy Peace and his ongoing work, visit his myspace and 2600 Recordings.

Afrobeatdown

Happy birthday to the great Fela Kuti!

Born in 1938, Fela left Nigeria for London when he was twenty-years-old to study medicine. Luckily for the world, he found medical school insipid, choosing instead to study music at the Trinity College Of Music. He then formed his first band, Koola Lobitos, which would lay the foundational sound for what he would ultimately be known for, Afrobeat.

His history--government raids, riots, drug arrests, abundant sex, mass protests, name changes, political revolts and 27 wives!--is dense as his recordings are. One could devote years simply exploring his life alone (which has been done). But we just wanted to give a nod to a forefather of a genre who, if alive, would be seventy-years-old today. It's really hard to overstate his importance on music.

****Here's the title track from the revered, Expensive Shit, another long, opaque joint full of grooves and drums galore.

Cutso" (Fingerbangerz) Bitchin' Fast Rap MegaUltraMasterMix!

Here's a mix I did for Blind I For The Kids. For all you fast rap fans. Nothin' serious, only buggin'. Shouts to Noahdeeakili! Peep game hurr.

Obama-rama

We're less than 3-weeks away from possibly the most consequential election of our time. Commentators talk about it, songwriters sing about it, and comedians joke about it. Below are what smart DJs are doing about it.
Both have been floating around the internet for a while, but both are real nice!

Z-Trip's Party For Change Mix HERE

King Most's Obamix HERE

Bass, Girls, And Jheri Curls

I reviewed Stones Throw’s hilarious Arabian Prince release for the September issue of REMIX Magazine. Read the excerpt HERE.
L-R: Arabian Prince, Jerry Heller, Eazy, Dre, Yella (Photo Courtesy of Stones Throw)

I re-listened to Innovative Life the other day and found myself still laughing at the childish raps and cheesy song construction. Old booty bass/electro rap is usually entertaining, even if I'm not always in the mood for it. Plus, Arabian Prince’s career (Egyptian Lover associate turned N.W.A. member) is a West Coast benchmark that connects the decline of electro to the rise of gangsta. It must've been awkward having to decide whether to stay electro or go gansta.

"Do whatcha like and do whatcha please, like an 88-year-old lady tryin' to do a strip tease..." from the track "Strange Life". Hear it here:


****To purchase Arabian Prince's Innovative Life, please visit Stones Throw's store, HERE.

Rubber Soul Train

Derek’s Daily 45 dropped this one on me. “Devil In His Heart” by The Donays is not only amazing, but was also an early Beatles cover. I like how Derek explores the notion that the Beatles were listening to soul around the time they first began.

Check out the original post from Derek’s Daily 45, HERE!

The Donays’ version is below. It reminds me that the best songs are simple ones.


With The Beatles is where this version appears. George Harrison on lead vocals yo.

Because I'm Getting Old...

…songs about youth make a lot more sense. Maybe its because I’m 28 and my hairline is 48. But I digress…

The Parlettes’ “Because We’re Very Young” (flip side to record above ) is a doo-wop-ish gem with a back beat that knocks. I know nothing of the group, so I’m not gonna front like I do (if anyone has info about the song or its makers, please drop us a line!). Clocking in at just under 2-minutes, the tune is long enough to make its mark, and short enough to make you wanna hear it again. This is a girl-group banger with killer harmonies, thick drums, and a sweet melody. Aahhh, to be young (or at least, just not old).

Hear it here:

Rock, Rock On

I interviewed Pete Rock for Wax Poetics issue #29. We talked some history and I had him list his favorite all time records. It was a standard record rundown, but he was very generous with his time and graciously shared interesting, personal accounts that were left out of the article.


You gotta respect Pete's history and longtime hustle. If you're a fan or care about past masters, you can now read the omitted portions on Wax Poetics' website, HERE. Rock on Pete, and thank you sir.

A Thing Or Two With Reanimator

2004’s Music To Slit Writs By showed a capable producer with nice sample selections, sequencing know-how, and great overall song construction. Music To Slit Wrists By held up easily against other ballyhooed beat-tapes of ’04, but somehow went unheard by many. The production didn’t test or demand your patience, which is respectful for even the most accomplished of producers. Four years later, and with a new project, The Ugly Truth, having been out for a few months, WTTM spoke to Reanimator about a thing or two on beatmaking, his history, and current well-kept career.

Give our readers some background on Music To Slit Wrists By. How long did it take to complete? What are you most proud of regarding that record?

Music To Slit Wrists By is a record that I originally released in 2002. I had about 2 years worth of songs that, over the course of a year, I pieced together to create this 80-minute mix of music. The thing that I'm probably most proud of is the fact that people enjoy it. I get comments from people who aren't necessarily into hip-hop say how much they enjoy listening to it, which is nice.

What do you think when you listen to it now?

When I listen to it know, I'm surprised by how much effort I put into the small details, like the effects, timing, and overall mix. Now that I'm working on more songs with lyricists, I often times don't spend as much time on the small details because I know that there are going to be vocals over the top to serve as a focal point in the music. With an instrumental record, it has to stand on it's own, so the small nuances really matter. My main focus was not letting certain repetitive phrases go on too long without changes - which has always been my complaint with a lot of instrumental albums. You can get away with that more so when working with vocals, but my vision for this particular album was to have it constantly be changing.

Will you ever press it on vinyl?

I've toyed with the idea. It's doubtful at this time, unless a demand grew for it. This album, since it's original 2002 release (which consisted of me having 100 copies with me that I would give away, some of which are still sitting on shelves in my basement) has had a few intermittent marketing pushes from various sources. Probably the most successful one is the current push that Sage has been giving it since people recognize some of my work with Sage and my new album with Prolyphic. I would almost prefer to put out 45s with standalone versions of certain songs.

What equipment do you normally use?

These days, the bulk of the work is done on the PC - like the chopping and piecing together of samples - I normally use Sound Forge and Acid. I used to use an Ensoniq ASR-10, but it became too limiting, too quick. I don't use any MIDI devices (I never really liked trying to configure that stuff) - but, I use a Fender Rhodes Electric Piano, a Wurlitzer EP-200a Electric Piano, and a Korg MS-10 Synthesizer. The sound of older equipment blends well with sample based music and the nice thing about the Rhodes and Wurlitzer is that they have such a nice sound on their own that I don't have to even play it that well for it to sound good. Sometimes I'll just hit one chord and it will warm up a song.

How long does it normally take for you to make a beat?
That varies heavily. The problem with sample-based music is that your songs are only as good as the records you come up on. If I haven't come up on any good records, then I'm not making any good songs, so there can be some droughts. Luckily right now, I'm in a decent state because I bought a collection of records off of someone a few years ago and I still haven't gone through all of the records, so I have a bomb shelter of possible material. This is what a lot of the Prolyphic & Reanimator, The Ugly Truth, came out of. Also, another issue is that there is a certain amount of trial and error when piecing together samples. Like, I can have a good song going that has 1 nice sample, but it could be years before I come up with a nice complementary sample to put with it. I don't like to do songs that just have a single sample looping for 4-minutes and some seconds, so the process can take a while. A lot of it is also luck that you even try to match a couple samples that go together well, but I'm sure that there are similar cases with all types of music composition.

What's the process like? Do you start with the drums, or a main sample, or loop or what?

I usually start with some main samples, like a catchy loop for instance, and just put any random break with it to get a groove going. Then I figure out what key the music is in and start thinking about what I can transition in/out of it and what sounds I'm "hearing" - like if I think that a trumpet would sound good over it. For stuff like one-shot samples like stabs and stuff, they can always be re-pitched pretty easily to add some flavor. Then I start auditioning pieces over it and chop up other samples to create counter-melodies.

How did your collaborations with Sage Francis and his record label begin?

I met Sage in 2001 I believe. He played a show in Milwaukee with Slug, DJ Abilities, and Sixtoo that my friend was promoting. I recorded the show and saw Sage the next day with Sixtoo and went to a record sale. I gave him and Sixtoo a copy of the show, so that's when we initially met. Then, when he was starting work on A Healthy Distrust, I had showed him an idea and he liked it. The working back and forth worked out well too. I would give him a rough song idea, he would record some rough vocals over it and send me the acapella and then we would develop the song, e-mailing it back and forth with ideas and comments. Then, he introduced me to Prolyphic via a couple acapellas that he wanted me to play around with and that was the beginning of The Ugly Truth.

Who are some of your all time favorite producers?

In no particular order...Marley Marl - I cringe at some of his scratching, but the production was always great. Bomb Squad - The true masters of piecing together lots of samples in an innovative way. Dr. Dre - Some people are surprised that I cite Dre as an influence, but his studio mixing skills and attention to getting timing right always seemed a step ahead of everyone else.

As a producer, what subtleties do you listen for when you hear a beat?

I don't necessarily listen for it, but I get annoyed when a sample isn't sync'd up well with a drum machine. I always listen for new/clever ways of transitioning in and out of samples. I listen closely for how people are mixing there instrumentals down. Sometimes when layering samples, the sound can get really dense, so I always appreciate when someone can create good separation and depth with their mixes - RJD2 has always impressed me with his mixing with how he can go between a big full sound and a breakdown without feeling like the song's main sample just fell out of the mix.

What do you want people to get out of your new project with Prolyphic?

I just want people to appreciate the combination of good lyrics andgood music. We tried a few things that are atypical of hip-hop records, like long outros, a song in 3/4 time, etc. to try to create something interesting that most listeners might not have been exposed to before.

What's next for you as a producer?

I've been showing some beats to Sage lately - I've been on some weird synthesizer thing recently with a lot of those. I was hoping to create another instrumental record, but I'm not sure what I want to do with that yet. I've been trying some live performance concepts in my basement that my dogs seem to enjoy, but I'm not sure that it's ready for a real audience yet.

**Here's a taste from Reanimator's Music To Slit Wrists By, "Socially Positive (Reprise)", an extended track full of signature change-ups and solid sequencing.

***To purchase Reanimator's latest project, The Ugly Truth, on Strange Famous Records, please visit this link: http://www.strangefamousrecords.com/index.php?main_page=product_info&cPath=6&products_id=301