Mad Men’s obsessive devotion to period accuracy has one conspicuous exception: its hip-hop theme song by RJD2. The track plays under one of television’s all-time great opening title sequences, which I can’t embed because AMC doesn’t understand how internet marketing works. Click this collage I made to watch on YouTube.
The theme song is an edited-down version of RJD2’s backing track for Aceyalone’s “A Beautiful Mine.”
The internet is home to a lot of questionably legal breakbeat collections like Drumaddikt and Cyberworm’s Sample Blog. “Cold Sweat” by James Brown is always included in these collections. It’s beloved equally by hip-hop and drum n bass producers. The break is at 4:30.
https://youtube.com/watch?v=pyijSTJ_BCo
There’s probably a whole generation of producers who have sliced and diced this beat without having heard the actual song. I’m sure the same is true of “The Funky Drummer” and “Apache.” Beyond the break, “Cold Sweat” is a remarkable piece of music, way out ahead of its time. On James Brown’s album of the same name, it’s sitting alongside jazz standards like “Nature Boy” and some boilerplate blues and R&B. Compared to those more traditional songs, “Cold Sweat” sounds like it belongs in another era entirely. It has a radically simple two-chord structure and an African-influenced intricacy to its rhythmic groove, and it still sounds pretty fresh more than thirty years later.
In 1987 I remember having my ears grabbed by this track on the radio called “Pump Up The Volume” by MARRS.
https://www.youtube.com/watch?v=cak1xly8oUM
Now that mashups are so common, this track doesn’t sound particularly remarkable. But in seventh grade it was startling to hear a house music track full of random samples. “Pump Up The Volume” was part of the same UK dance music movement that spawned the KLF’s “Doctorin’ The Tardis” and “Rush” by Big Audio Dynamite. I wasn’t enough of a hip-hop head in 1987 to recognize where the phrase in the title comes from, but now I do, it’s from “I Know You Got Soul” by Eric B and Rakim. Listen at 0:43:
Music blogs, magazines and cable channels like to run lists of the best albums of all time. Certain albums get listed again and again: Sgt Pepper, Pet Sounds, Highway 61 Revisited.
If you were to compile the best albums as measured by how often they get sampled by hip-hop producers, the list would look very different. There would be some famous names on it — James Brown, Led Zeppelin, P-Funk — but it wouldn’t necessarily include their best-known songs. And you’d see a lot of names that would be totally unfamiliar, unless you were a really devoted crate-digger. In the top ten, alongside tunes by The Honey Drippers, The Soul Searchers and The Incredible Bongo Band, you’d find “The Champ” by The Mohawks.
Hip-hop fans will instantly recognize the organ riff that kicks off this song. It’s everywhere. Yet I had never heard of the Mohawks before looking into the source of the riff. They were an ad-hoc band of session musicians led by a British organist named Alan Hawkshaw, best known for his commercial jingles, library music and TV theme songs. He also played on records by Barbra Streisand and Olivia Newton John. Not the likeliest source of inspiration for Big Daddy Kane and Ol’ Dirty Bastard, is he? But the album grooves hard.
Missy Elliot is one of the most futuristic electronic adventurers out there, especially in her collaborations with Timbaland. Yet her stuff is as hot and soulful as music gets. How does she do it?
Continue reading “Put my thang down, flip it and reverse it”
Meet the most fascinating and problematic pop star of the moment, Antoine Dodson.
If you’re a follower of internet memes, you know the story by now. If not: Antoine, his sister Kelly and her daughter were asleep in their apartment in the Lincoln Park housing project in Huntsville, Alabama. An intruder broke in and sexually assaulted Kelly before Antoine chased him off. The family complained to the housing project authorities, who were unmoved. So on July 28, 2010, the Dodsons took their story to the local news. Continue reading “The complicated case of Antoine Dodson”
Two things happened this week in my life as a Michael Jackson fan. First, Spike Lee threw an awesome birthday party for MJ in Prospect Park for the second year in a row. I hope he does it every year. Snoop came and did a set, and so did Warren G. I had a lot of fun.
I’m continuing my tour through hip-hop’s most classic breakbeats with “Ashley’s Roachclip” by the Soul Searchers. The drum break at 3:36 is one of those hip-hop workhorses, like “Impeach The President” and “The Funky Drummer” and “Apache.” It seems like it’s always been there.
The Soul Searchers were led by guitarist Chuck Brown, known in Washington DC music circles as “The Godfather of Go-go.” Go-go is a regional flavor of funk using a heavy swing feel and a lot of happening syncopation in the kick drum pattern. Early in my funk connoisseurship, I would have used the go-go beat as the definition of funk. The beat in “Ashley’s Roachclip” isn’t actually very typical of go-go since it uses straight eighth notes. You can hear a more typical one on Chuck Brown’s official web site.
If I had to pick a single track to explain to an alien or time traveler what hip-hop is and why I love it, I think I’d pick “Nas Is Like.”
Nas has a great flow full of powerful imagery, but what truly sets this track apart for me is DJ Premier’s production. It’s a complex web of samples and scratches that tie together so seamlessly as to be much greater than the sum of their parts. A lot of the samples are from other songs by Nas himself.
Here’s a diagram of all the samples, click to see it bigger:
Here’s a graphic I did for Spork Media explaining how an ideal social media setup for a restaurant. Click through for a detailed explanation. 
Who doesn’t love flowcharts?
