Song of The Year-Recognize by Bun-B featuring TI & Big K.R.I.T. produced by Big K.R.I.T.
I’ve made the argument that the pop sphere is larger than it has ever been due to the ability to find anything. The gatekeeper role of radio and upper level music executives isn’t anywhere near as important…but I’m willing to make the opposite argument now. I think it is possible that due to trending patterns on social media we have less pop music than we ever have before. What happens is a new album drops (maybe its Eminem maybe its Nicki Minaj) it is just the largest name that week and that album gets blogged about and all caps shouted at by the whole world. So that giant internet information space turns out to be a giant garage with one car parked in it.
So while people were coming up to me saying “What do you think about this Eminem?!” I was shrugging and asking them if they had heard Bun-B’s new album Return of The Trill to blank stares. Firstly, I thought all the hip kids were pro-UGK now…shouldn’t we be supporting? Second, all the criticisms of Eminem’s Kamikaze are resolved within Return of The Trill. Bun asserts himself without discounting the younger generation.
Production wise Bun linked with his greatest musical partner post-Pimp, Big K.R.I.T. The Mississippi mastermind produces half of the fourteen songs on Return of The Trill. In movies, TV, books whenever the South is portrayed it is either an authentic take or reeks of artificiality. You can tell when you press play if no one involved in making it actually knows or cares about the South. K.R.I.T. makes beats that are deeply southern with gospel flair (see Traphandz) and the same kind of speaker shaking movement peak UGK brought to the speaker.
These beats fit Bun like the perfect coat. On his best lyrical performance (Recognize) he steps up to the microphone and says “My wordplay is intricate influence significant motherf**kin’ magnificence and my influence is integral charismatic and sensual f**king up your centrifugal. With trill pumping all through my ventricles gladiators and sentinals peep you through the peripherals. I see you p**sy n___as out the optical catch yo ass when its optimal…” The song is one of the year’s best moments and while the album might get a firm friendly handshake critically it won’t get to be POP and you can justify that in lots of ways. You could say that pop music should be this or that and Bun doesn’t fit those parameters. Whatever. Return of The Trill isn’t the best album of the year but it’s better than the junk we spend so much time yapping about.
After you watch the video up top check out Bun breaking down the bars
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Tagged Big K.R.I.T., Bun-B, Eminem, hip hop, Kamikaze, Nicki Minaj, pop music, Return of The Trill, Texas hip hop, TI, trending, UGK, underground hip hop
#SampleSnitch-You are who you sample: Isley Brothers to UGK
If a rapper who produces is selecting the same artist to sample over the course of their career you start to see the connection. The latest example is Kanye West and Nina Simone (http://www.vinylmeplease.com/magazine/kanye-west-sings-blues/ great in depth article on that) the two share that kind of driving-off-a-cliff-but-surviving genius. In the case of UGK it becomes apparent that they made their bones on Isley Brothers samples.
The debut full length studio album from UGK is called Too Hard to Swallow and features three Isley Brothers pulls: Summer Breeze as the co-foundation for Tell Me Something Good, Between The Sheets two years before Biggie used it on Cramping My Style, and I Turned You On for I’m So Bad. UGK were a fearless revelation with songs like Cocaine in the Back of the Ride and Pocket Full of Stones scaling back the horrorcore of early Geto Boys in a way that made them more frightening…cause Pimp didn’t sound like he was writing fiction and Bun didn’t sound like he let his feelings get in the way of anything.
Four years later UGK put out one of hip hop’s flawless treasures in Ridin’ Dirty. Being from Maine I didn’t hear it in 1996, I went into the Army and got stationed at Ft. Hood Texas. That is when I rode in my first Cadillac and when my friend played me One Day for the first time. He hit repeat twice until it soaked our bones. Instead of the ball busting ferocity and relentless aggression One Day is a step back appreciation of the finite nature of our life. Bun B trips through childhood, lost friends, sin, prison all with the assured linguistics and breathe control of a king. Pimp at about a minute and thirty left in the song does one of his trademark shockingly honest admissions “My man Bobo just lost his baby in a house fire/and when I got on my knees that night to pray/I asked God ‘Why you let these killas live and take my homeboy’s son away?’/ Man if you got kids, show em you love em cause God just might call em home,” It is heart stopping. I used to go to cook outs in Texas (or later in my duty station in Korea) and put this song on just to watch everyone stop & turn their attention to it. You have to.
You have to because of Ronald Isley’s magnificently fragile voice chiming in from the last song on their 1974 album Live It Up. The song is called Ain’t I Been Good to You and the album is important because it is in the sweet spot of The Isley format: dance banger-slow jam-mid-tempo-funk then repeat. The other reason One Day can’t be ignored is because of Ernie and Marvin Isley. Marvin’s bass is just monstrous and Ernie is credited on the album with “percussion, drums, acoustic guitar, electric guitar” the rhythm section is all time electric making it damn near impossible not to groove. For those who don’t know Pimp had a big hand (along with the legendary N.O. Joe) with producing all UGK music. He knew that Ronald’s voice would give you pause just like he knew Ernie and Marvin’s groove would keep you nodding your head. UGK created music that wasn’t for the club or the backpack, rider music for car speakers, for moments like the first time I heard it. They couldn’t have done it without the Isley bump and none of them would have a problem saying that.
The Isley Brothers original:
The UGK version:
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Tagged Aint I Been Good To You, Bun-B, Ernie Isley, funk, Geto Boys, Isley Brothers, Marvin Isley, One Day, Pimp C, Ronald Isley, Sample Snitch, UGK, Underground Kingz
Sample Snitch-I Choose You and the Willie Hutch effect on hip hop
by Willie Hutch
The chorus for I Choose You has been lifted by countless rap icons from Project Pat, Wiz Khalifa and most famously UGK on Int’l Playaz Anthem (I Choose You) featuring Outkast. Willie Hutch infused his music with qualities that not only secure his music as timeless but leave a prime candidate for sampling.
As a teenager Hutch was in a doo-wop group called The Ambassadors and that form requires a tightness and discipline in the songwriting as well as the execution. A skill set that would come in handy as he transitioned to writing, producing, and arranging songs for The 5th Dimension. When he signed to RCA he actually wrote the lyrics to I’ll Be There for The Jackson 5. Writing for Motown under producers like Hal Davis demands that precision and he was so good at it Berry Gordy singed him to be staff writer, arranger, producer and musician (played guitar).
This is all to say that by the time Willie put his first solo album (Soul Portrait) out in 1969 he had a rock solid foundation in the structure of melody. The album is a seamless showcase of a perfectionist’s attention to the groove. This is all to say that I Choose You is not accidentally glorious and pimpish. He made the song for the iconic Blaxploitation film The Mack starring Max Julien and Richard Pryor. It had to soar and make Cadillac’s feel like spaceships. He knew he could draw his voice out and kick it up a notch when the horns came in.
It makes total sense that the best Southern Rap collaboration of all time happened over the pillowy pitch-perfect harmony he organized. Every word Pimp C says is dynamic and arresting (even the offensive stuff…especially the offensive stuff) Bun B is ice cold Andre is earnest emotional poetic and Big Boi bubbles.
So think about it this way: Hutch and others like Isaac Hayes cut their teeth in the back room cranking out hits before they were able to grow into their solo voice but by the time they did…they were at an advantage of experience. Keep that in mind when a new inexperienced kid takes over the world after one song; that is the world putting them at a disadvantage. When Hutch experimented, loosened the reigns and got funky he knew how to do it and never suffered the disadvantage of not knowing when it got sloppy. I Choose You is the culmination of a lot of work and when you hear it make that your reference point.
Int’l Playaz Anthem (I Choose You) by UGK and Outkast
Willie Hutch-I Choose You
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Tagged I Choose You, Int'l Playaz Anthem, Max Julien, Outkast, Project Pat, Sample Snitch, Soul Portrait, soundtracks, The Mack, UGK, Willie Hutch, Wiz Khalifa