Music, promoters, Reviews, theshineprjct, Toronto

the new art of the sample

I know this isn’t Canadian content, but this is totally worth noting. Between 1999–2006 is a prolific and momentous time for Modern Black Music. Why? Well, much has influenced hip hop and pop as well as the sounds from well known vocalistic influences of the 60s,70s and 80s. All of this can be heard throughout more recent music. When I say more recent; I’m talking about this year! I could have never imagined hearing what music recorded throughout the early-mid 2000s, would sound as snippets for some of the most recognizable hits in the last three years.

After attending “Crate Stories Live”, an online interview series presented by underground alternative Toronto presenters Little Dojo and The Academy, along with Loop Sessions Toronto + Dan Charnas, Author of Dilla Time, NYU Professor and former A&R rep, talked about his multiple encounters with instrumentalist, master sampler and sound bender, James Yancey aka J.Dilla. 

The 2+hour deconstructive discussion with host Arcee, is where author Charnas, brought back memories and tons of meticulous supporting details of the sound technique signature to J Dilla. Snippets of music he’d worked on over the years when he was alive, played throughout the session and after hearing this author’s remarks on Dilla’s work, we find that his work left it’s mark on music production techniques and revolutionized multi-genre sound productions worldwide.

During the pre-pandemic COVID 19 window, I started listening to a slew of tracks that I believe created a wave of the most recognizable melodies from early-mid 2000s and heard many superior voices and hooks that’ll never die. Many artists who haven’t performed in years,(with Canadian dates included) are now touring again. With the stellar ticket sales for live shows in many big cities across North America, groups like Wu Tang Clan +artists Nas, Sean Paul are evidence that the ‘2000s’ sound is still hot. Is it? (I know every generation might say this about the music they listened to during their time but the 2000s were pretty dope!)

Aside from the notable copyright cases and remake similarities, what better way to ‘give flowers’ and avoid sampling mishaps + court case settlements by bringing the artists back! Some of the biggest rhythm +blues, ‘urban’ + hip hop artists aren’t dead yet and with major cases like Tracy Chapman’s 1988 song, ‘Baby Can I Hold You’ sampled for Nicki Minaj on her 2018 track ‘Sorry’ featuring Nas; or the VERY recent sampling issue with rapper Latto’s sample of Mariah Carey’s massive hit ‘Fantasy’ for catchy release ‘Big Energy’. Latto initially claimed she wasn’t familiar with Mariah Carey. I mean, myself as a teen, in the late, late 90s, knows Mariah Carey as THE diva of divas. So for Latto, nee Alyssa Michelle Stephens, born in 1998,to have claimed that she didn’t know about the original hit is sorta understandable and even if Carey has had hits spanning across 30 years; I’m still in disbelief she wasn’t aware…….anyway…

What has spurred the idea of this piece that I’m writing here, is the effect that battle show Verzuz had on many Gen Xers and anyone who listened to that genre. As I’ve been listening to some of the older stuff and later on taking in some of the newer artist releases, the reworking and/or incorporation of melodies into these fresh tracks can be heard quite clearly and on purpose. I’d be remiss if I didn’t mention that Canadian artist Drake has released a ‘house’ sounding album titled Honestly, Nevermind, which includes some samples from the era I’ve mentioned above. Samples on the new album include Neo-Soul/rhythm + blues duo Floetry’s ‘Getting Late’ (2002) on familiar sounding track Flight’s Booked.

For those who don’t know what Verzuz is, it’s a ‘spin off’ of the battle between two opposing sides (an idea that sprouted from longtime successful Producers Swizz Beats (Ruff Ryders, DMX, Eve) and Producer Timbaland (Aaliyah, Missy Elliott, Nelly Furtado) who originally (early during lock down) went toe-to-toe in a challenge over their ‘hardest’ and familiar beats and tracks, over the course of their careers. They shared ALOT from their catalogue and as the event grew, we’ve been seeing from then onwards, how many tracks they’d produced and how many artists they collaborated with over the years.

These earlier in lockdown ‘digital battles’ presented a slew of throwback artists, sounds and groups from our childhoods, showcasing the sounds that were attributed to their genres at THAT moment in time. (roughly about 1997–2007ish) Some of the most popular sounds in Black Music, spanning the last two and a half decades, is now added to the already growing original artist features, remakes or samples and in the last 2–3 years, we’re now hearing a shift in the era from which the sounds are being gathered.

Let’s look back for a bit: The very well known rap song of resistance, ‘Fight The Power’ by Public Enemy, used 22 samples from various sources but the effect described in detail was intentionally made in a way to create a dense sonic landscape, to reinforce their message and connect their songs to thematically similar music from the past. Hence the “I” I mentioned in the opening paragraph. That’s the “I” from Bob Marley’s “I Shot the Sheriff.” You hear it during every “Fight the Power” chorus, but especially in the last few seconds of the song, starting at 3:33, where it repeats. See the article that breaks the sampling pieces here.

Knowing all this detail definitely forces an audiophile like myself to listen to older tracks a little more. (and I wanna add, I love samples!) With the quote I pulled from the article titled ‘The Evolving Art of Sampling’ it makes me wonder what the evolving art of ‘sampling’ looks like today. And in support of this piece, it looks to me as if the next stage of sampling (besides beats and loops) is bringing the live artist back into the mix again. Many of the artists are still here and we’ve actually encountered many of them on those VERZUZ presentations. Here are some of the tracks that I listen to where the OG artist blesses a new track, replaces the sample or lends a completely new sound material for the audience. This brings me to mention DJ/remixer and Twitter sensation @loneamorphous who starting showcasing popular Hip Hop and RnB ‘mashups’ of artists from the early mid 2000s and they sound really good!

So look, here’s a thought: Until the industry figures out how to make block chain and music platforms more equitable for artists, I think you should go ‘head and make a playlist and re-listen to some of your old faves and new gens rock out together!

I’m sure there are many, many more tracks like these coming, especially after summer 2022:

Artist performing with the OGs

Nicole Bus – You (Ghostface Killah Remix)

Latto, Mariah Carey – Big Energy (Remix (Official Audio)) ft. DJ Khaled

Lucky Daye Earth Wind and Fire You Want My Love Collaborative single a reimagining of R&B band’s 1976 hit “Can’t Hide Love”

Gwen Bunn ft. Faith Evans – Between The Lines (Official Music Video)

Be Like Water – Stevie Wonder, PJ Morton, Nas

G-Eazy – Provide (Official Video) ft. Chris Brown, Mark Morrison

Fat Joe, Dj Khaled ,Amorphous – Sunshine (The Light)

Sample Sounds

Why Don’t We – Sans from Amerie’s Why Don’t We Fall in Love

We Guhd. – Chelsie Denise feat. Smoke Dza

Pride – SprngBrk

-shine

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Album Reviews, DJ Culture & Music, House Music, Movers & Shakers, Music, Reviews, Toronto

Hot🔥House Tracks For Summer 2020-2021

What a time to be alive! 2020/2021 was one for the books in all areas of life-but for House Music, i’ll say bravo, bravo! I spent most of the lock watching DJOON and Detroit Movement lives and caught all kinds of dope shit that I would’ve planned to see at festivals. .

I don’t know about you but…these tracks moved me! Time is an illusion so I’ve mashed together last summer and some of this summer’s finest that I play for my own ears and soul. As I presently have them all and more on rotation, let me preface this by saying that with many shifts in pace and modes of socialization gradually changing, music has re-emerged as the pillar of strength that carried us through that was seen on programs like Verzuz as well as dedicated channels and pay per view events.

I’ve taken in so many live sets online of which I wouldn’t be privy to unless I’ve seen those artists live somewhere, somehow. I’ve taken in tons of material that I don’t believe I would’ve heard if these artists were on the road most of the year. Thanks to Twitch, YouTube and other online platforms I make sure to factor in new and existing artist lives-I check for hot new drops and I am steadily listening to while I work.

Here are some of my top Global House & Tech track favourites! As much of a House and Deep House Lover that I am, I do listen to music outside of my faves and have stumbled on some good, good stuff. There’s some Canadian tracks squeezed in and around on rotation here goes:

Like a Fool
Fred Everything Lazy Vox

Crazy P – 15 Years of Lazy Days

This is what I remember hearing so often at Li’lys in Toronto! 2021’s Lazy Vox version of Like A Fool is a smoother and groovier collaboration with Crazy P. I call this a more buss down version of the earlier release in 2015. It’s subtle but waaayy heavier! One thing I love the most is when a Montreal DJ/Producer like Fred Everything puts his spin or re-interpretation on already really good tracks. Just when you think it can’t be made any better….This track sounds like what he usually puts out. It’s honest, raw and right in the centre of that pure Deep House scale. 2015’s Mercyless feat.Wayne Tennant has that same bounce. I couple this up with his Madhouse Records release Imagination & Determination. It’s soothing to my ears and soul. Keep them coming!

Stay Inside (Girls of the Internet Extended Remix)
JT Donaldson, Liv.e, Girls of the Internet
Classic Music Company |

I think upon hearing this I really didn’t mind being inside at all!!! Soulful vocals like this were definitely heard across most 90s tracks for them to be a certified bop; this revival is a solid new classic. This is what I was saying earlier about songs being created at the time for that perfect moment in history- it feels very authentic. I don’t know how else to say this; but black female vocals are unmatched. This is smooth and renews a place in time for 2021 and beyond! Accolades for the both of you putting something as dope as this! More please!
https://bit.ly/3eV6sph

China Charmeleon – I Want My Soul – Tribute To George Floyd (My Father’s Records)
Stay True Sounds

Soulful and timely for the year that everything changed. His death touched many around the globe including our brothers and sisters in Africa South. Something special about 2020 and 2021 brought forth cuts like this. This tune has the signature classic sound that moves us House heads. This is fresher. This track brought me to look a little deeper at China’s pre Stay True Sounds discography and remixes. China literally lights up any previously released track in a multitude of ways. We see that in Sculptured Music’s fire track re-do of Sad To Think. Check out China’s set at Djoon’s presentation of the Stay True Sounds roster to capture a more direct taste of his kind of vibe!
https://bit.ly/3kQo3Cu

Boiler
Original Mix
Sydney Blu
Release: Conviction
I love to dance and this is it for me. It took me a minute to release that this was a punchier and persuasively Housier version of the Undr The Radr release in 2020. This track is an example of a period in time where Dance music had some very lit energy! The vocals are catchy and this to me stood out on the Conviction release. This goes with me to the gym, this sits with me as I work! I have to add in that she is also Canadian! You can hear this album here at this presentation from earlier this year! Mr. Afterparty presents Sydney Blu – Conviction Album Set https://bit.ly/3l64ir1

Devotion
by Fred P
devotion
W&P by Fred P

A good friend put me on to his music years ago as he ventured out to Berlin from the U.S. years ago -and his sound imprint has only gotten clearer and deeper over the years. I’m a huge fan of Fred P’s Private Society on Bandcamp and look forward to all the new vibrations he puts forth on this platform quite often. His genre is described as ambient, electronic and it really does sound like this. Devotion is that perfect background music used to gather inspo to create masterpieces and is one of 7 beautifully crafted cerebral tracks released a few months ago. I look forward to anything under Perpetual Sound. How distinct is he as a DJ/Producer? Have a listen to this Fred P remix for Electro Pop artist St. Vincent featured on Nina Kraviz presents release compilation from 2019. I love to chill and lounge with some wicked thought provoking tunes and Fred P did THAT! (listen to the original as well!) He changed that tune into a whole other genre in his distinct style! https://bit.ly/3iLzKaV

Portia Monique
FLOWER
Portia Monique
Sexy…Classy…Seductive

I’ve loved Portia Monique’s sound for quite sometime. She captured my ears in (2013) on The Layabouts – Colours of Love. In addition to that I stayed listening in (2019) on Ralf Gum’s (Go Go Music) album Progressions with sneaky link track After Midnight and right now, this year with Who You Know and Flower. This song intends to nurture the soul and it does just that! The most beautiful tracks are the ones with the strongest messages. She can effortlessly ride these beats so if you’re more into the beauty and strength of vocals-check this out and take it in. Her voice is gorgeous and her sound is unforgettable! She knows her voice (lyrically and soulfully)-you should get to know it too!

The Way (Jazzuelle Darkside Remix)
Luka, Jaidene Veda, Jazzuelle
Re:Vibe Music (Afro Creations Vol.10 Compilation) – Spotify

Reunited again and it sounds so good! Three artists on the House/Deep House circuit that I absolutely enjoy listening to when they collaborate with others but together-is some synergy. One signature style/sound I’ve come to recognize about Luka is what I personally call dark and jazzy which is rarely captured ensemble in ‘House’ anything. I first took notice on 2 out of 3 of them collaborating on the 2013 release Overstanding with the We Go Deep label remixed by sir lsg & Anthony Nicholson. Jazzuelle definitely demonstrates the deviation from his signature futuristic sound on his own projects. I love to hear it!
https://bit.ly/371nQUW

Listen, I could go on and on but these are just a few of the things I listen to- maybe I’ll check in with some stuff in the fall or winter! Enjoy being outside and keep dancing!