Hooked up a remix real quick.
For the 20th anniversary of Illmatic i decided to highlight Nas as well as the producers that made the album the masterpiece that it was. I gathered up different beats from Primo, Pete Rock, Large Professor, Q-Tip and L.E.S. and went bezerk real quick. I do so much production that i forgot how much fun it is to just catch wreck over a classic beat you grew up on. I sequenced their beats to match the tracklist on Illmatic and i also got Tone Blunt to fill in the Brooklyn guest spot role.
I also used lines from Illmatic to title the freestyle.
The second part of the tape is me remixing Illmatic era Nas. It was dope to zone out to the vocals and really appreciate how incredible he is as a lyricist.
This took about a week to hook up and i gotta say it was mad fun to put this together because it brought the fan out of me. I was in the middle of finishing up the project when the homie Slew hit me up and we started to build about why Nas is so dope and he was dropping so many fly stories i decide to tape it and put it throughout the second act.
Salute to Nas, AZ, Olu Dara, Primo, Pete, Extra P, L.E.S. and Tip for what they did. That album raised a whole generation of MC’s to sit down and really think before they put pen to paper and by extension birthed other classics in that already exceptional era.
I cant believe nobody had done this before. I had the idea bumping in my head for a while now but was too distracted to sit down and really do it. I found myself running round doing A MILLION things at once and was getting stressed the F out a bit. Seeing how music always = ZEN for me i said FUCK EVERYTHING and sat for 3 days putting this together. Prodigy was always one of my favorite MC’s ( i still consider his verse on “Apostles warning” one of the best displays of the art of rhyming EVER!!!!! ), with imagery, delivery and general aura through the ceiling. A unholy mix of gutter scumbag etiquette filtered through a mind more gifted poetically than many people realize. The Prodigy was introduced to me via MTV back in London. I was buggin out on the dance moves they had on the video for “Outta space” ( man dude looked like he was doing some fly kung-fu shit with his feet at the 1:29 mark. CLASSIC ) as well as the insane video they had for “Smack my bitch up”. This EP came out grimy like a brothel bathroom in the swamp. So far people have really spazzed out to it. The homie Cyclops said “Lime Bacardi” makes him want to rob someone ( best compliment EVER haha ). I stepped to the homie Claaa7 from THE LOST TAPES to present the EP with me and he was down. He told me when he was a kid he was a big fan of The Prodigy so everything worked out on some fly divine shit.
AHHHHHHHHHHHHHHH High school. The wonder years. I was a kid in boarding school in Ireland. Running thru Dublin bugging out and soaking in all the Hip hop i could find. I was such a fiend that i remember being in Abbey Discs and buying the “I got ya opin” vinyl even though i didn’t have a record player and having the dude that worked there play the whole shit ( instrumentals included ) and record it to a tape for me. ( Shit i still got the tape i think ) I was ecstatic that they had the joint on import cause when i saw the video on Yo MTV Raps i NEEDED that song in my life. Abbey discs was also cool cause of the people i wold meet there. I’ll never forget the day this one Irish dude and i got into one of the most detailed conversations about hip hop production i ever had. I had never even thought about making music at that point, i was just a fan, but i remember the way homeboy was breaking down the Al Green drum break in “Mahogany” and telling with me that it was better on that than on the “Tried by 12” joint. I was like “WOW dude really knows his shit.” Hell, i didn’t even really know what a fucking drum break was back then. Sampling was Fuzzy to me. I just knew the music put me in a zone and i assumed people made it with keyboards or bands or some shit. One fateful day when i was in school the big homie Hassan called me over and handed me an “Enter the wu tang ( 36 chambers)” tape and life as i knew it would not be the same for the next few decades as the Staten Island crew BLEW particles off my brain. I heard about the clan for a while and i heard “Method man” and “Wu tang aint nutting to fuck with” so i was drooling to hear the album. The cover hit me the most the first time i got it. CARTEL did a fucking fantastic job with the artwork cause you couldn’t see their faces on some ill Ninja shit. I had never seen an album cover like that before and i was struck. It looked like a damn movie poster or something. When i got back to the dorm, grabbed my walkman and popped in the tape and heard “Shaolin shadowboxing and the wu tang sword style. If what you say is true the shaolin and the wu tang could be dangerous” it was OVER. The rhyming, the beats, and everything was just too next level. I remember i played it for a couple of the dudes there and heads kept on trying to borrow the tape. I must have dubbed that 36 chambers album for like 7 cats before i even gave the joint back to Hassan. ( Who by the way i was ducking cause i didn’t wanna give that tape back ha ha ). With the exception of “Iron man” i bought all the solo albums while i was still in boarding school too. Hell, i still get Flash backs to to riding the bus to Grafton street every time i hear “Knowledge God” or “Sub Crazy”. Heads in school were really feeling the Wu as well. I lost track of the amount of times i heard “Protect ya neck” or “Diary of a madman” blasting through somebody’s boombox. Back then most cats that were into hip hop were more into the west coast artists ( Ice-t, Cypress Hill and House of pain got a lot of airplay i remember ) but when the Wu hit it just had all kinds of people open. From those years Wu tang has always been the greatest rap group of all time to me. If you think i ain’t keeping it a 100. Ask anyone that i got into a heated “Wu tang is the best of all time” discussion with.
The First time i ever heard U2 was when i was living in VA. I remember being in the whip with my family and the radio being on and “With or without you” being played a lot. Something about that song just always stuck out as being beautiful but sorrowful. Ironically when i was living in Ireland i was not into U2 cause i was such a “strictly hip hop” kid. I remember hearing the “Joshua Tree”, “Zooropa” and “Achtung baby” bumping but i would tune it out cause i felt “That’s that other shit” Damn shame cause i still remember the way everyone in school was going crazy cause of this one show U2 was gonna play, in retrospect i wish i went cause as much as i love their music now it would mean so much to have the memory of seeing them live. As i grew up i fell in love with U2’s music. They have mad emotional power and a dope cinematic feel to their music that started to resonate more as time went by and i began to understand great music is great music regardless of genre. But i cant front even back then i was digging the joint that had the Edge rhyming on it. The video was crazy too. When i hear U2’s music now it give me a feeling i cant even describe. That shit just hits me like “Thank God i’m alive to hear this”. As i got more of their albums i also respected the fact that they always reinvented themselves. I can understand why some who swore by “WAR” may think “POP” was too out there musically but hey……………..THE MUSIC WAS ALWAYS CRAZY. Bottom line. I love the fact they always did what they felt like doing cause no matter what the fuck they did they always had joints that would send a chill down my spine when i hear it start. U2 gets into the same zone of some deeeeeeeeeeeeep soul music. Think of the feeling you get when Marvin goes “ohhhhhhhhhh makes me wanna holler the way they do my life” in “Inner city blues”, that soul music that is so raw and strong it actually burns. U2 takes that and spreads it over mad various styles of rock. Crazy!!!!!!
Putting this project together was fun. I originally planned on doing something like my “Black faith mixtape” with Depeche Mode but one random day the name WU2 popped in my head and i couldn’t get it out. I went and grabbed the vocals and when i put em together it was Zen like the way it all fit. Even down to the titles of the songs and the way U2’s music matched the feel of the Wu’s rhymes when blended together. It took about 5 days for the production ( i did the beats for “Love in Daytona” “Holla First” “God’s Zoo” and “Run to the Exit” on the same day matter fact ) and 2 days of mixing in the vocals. When it was all said and done and i listened to it i caught a very ILL feeling.
I hope yall enjoy it
Wow. Jay AGAIN. This is the third time i remixed a whole jay album ( this better be the charm ) I called the remix “The graphic novel” and Nanigan was like “How do you remix a graphic novel?” i was like “uhhhhhhhhhhhhhhhhhhh……i’mmmmmmmmm…doing a COMIC BOOK too…….yeahhhhhh” So i then started on the comic book ( fun as hell to do by the way ) I made the beats a while back for another project that fell through and when i started putting the vocals to the beats they LOCKED IN crazy. It was almost weird how well everything fit.
So anyway. Linkage is right here for the music:
aaaaaaaaaand the comic book:
Mediafire link: http://www.mediafire.com/?duxud49c95u617g ( RAR file )
http://www.mediafire.com/?d6ia3x2ean01017 ( ZIP file )
Sendspace link: http://www.sendspace.com/file/tnr55f
COMIC BOOK PREVIEW
Enjoy. Oh yo if you enjoy it enought hit me with a donation. I’m stacking up money to start touring and pressing up physical cd’s and shirts aint exactly free. So any help to the cause would be appreciated. Thank you.
Yeah this one came up outta nowhere. The homie Nick hit me off with the vocals from Felt 3 and i sat on them for a minute while i worked on the ‘CoExist” and “codename: DEVASTATOR” albums. This joint came together quick as hell. Before i realized what was going on it was pretty much done. I gotta admit i love this shit. Nancy Sinatra had a lot of incredible music. Using her samples gave this project a crazy feel. Some of this stuff comes off a perfect soundtrack for the winter but there are also joints here that would set the summer off too. The reaction to this has been CRAZY. Thats whats really good.
“We love how Murs and Slug always pay tribute to a special lady with their collaborative, and terribly slept-on FELT albums. Deejay/producer Tokyo Cigar jumped in, and paid tribute to FELT with Nancy Sinatra with a new mix. These are amazing, spooky productions from the voice known by fans of RZA, Quentin Tarantino and simply dope ’60s music. This is more than just a blend tape, these are really elegant productions that anybody can appreciate”
“Felt, the duo of L.A. rapper Murs and Minneapolis MC Slug (one half of Atmosphere), has dedicated each of their excellent albums to a female celebrity—their first three records were named for Christina Ricci, Lisa Bonnet and Rosie Perez, respectively—though the title choice has no tangible bearing on the record’s sound. But over the holidays DJ Tokyo Cigar released the free mashup record Felt 3.0 (A tribute to Nancy Sinatra), which, you guessed it, consists of the album Felt 3: A Tribute to Rosie Perez remixed with samples from Nancy Sinatra songs, and somehow it’s kind of great.”
“I am a big fan of Slug (of Atmosphere) and pretty much everything he touches. It’s only natural then that I love Felt, the collaboration between Murs of Living Legends and Slug himself.
Tokyo Cigar recently took Felt 3: A Tribute to Rosie Perez and remixed it, adding numerous samples of Nancy Sinatra’s music. The result is a very intriguing and eerie remix album that oddly enough seems to perfectly suit Felt’s style. ”
Ghost did the damn thing AGAIN with the “Apollo Kids” album so i got so hype i decided to remix the original “Apollo Kids” track from the seminal “Supreme Clientele” album. Some straight gutter boom bap for that ass.