Category Archives: mpfree lanks

THE #REALHIPHOP FILES // featuring JERMISIDE

JERMISIDEonly 2 more interviews to go in the long-running series focusing on Pete Marriott‘s new album #REALHIPHOP, featuring emcee Jermiside.

VEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

JERMISIDE: I’m Jermiside. Rapper/Producer & Lessondary Crew affiliate. Lover of all things creative.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

JERMISIDE: This track came about from me having a good working relationship with the homie MegaRan. If I remember correctly Ran hit me up with the track and asked if I’d like to jump on it and if anybody knows me I’m always up for a feature. Its funny you ask this question because I had forgotten me and Pete were label mates for a short stint. I did 8 bars for a remix of his song “The Champ is Here” a while ago.

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

JERMISIDE: My writing process as of late is just sitting down with the track and seeing where the music takes me, sometimes people already have a concept in mind which is cool because it makes my job easier. I’m actually trying to get back to writing without beats like how I started, just to focus more on my lyrics.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

JERMISIDE: Real Hip-Hop to me is genuinely expressing yourself in hip-hop form. My definition really has nothing to do with how it actually sounds. Like for example someone might say Migos isn’t real hip-hop BUT to me they are. They came in the game with a unique style, they care about bars & delivery, they’re hungry, its more the intent than the content if that makes sense.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

JERMISIDE: Freddie Gibbs & MadlibRobes” and anything by Tall Black Guy.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

JERMISIDE: jermiside.bandcamp.com or twitter.com/jermiside.

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NEW SHIT // Vahé:LeisureCAST – 035. ACCEPTANCE SUITE

coverVahé:LeisureCAST – 035. ACCEPTANCE SUITE

soundwaves that reflect the need to accept, but not to yield.
in essence, to be at peace with the holographically solid world we call Earth,
& all the highs and lows that come with it.

tracklist:

01. tomoyasu hotei and ray cooper – a drug score (part 1) (acid spill) (intro)
02. unforscene – the journey
03. green vision – guardian stars
04. onra – don’t stop
05. brittany bosco – city of nowhere
06. dwele – love
07. soul cycle – club groove
08. dakah hiphop orchestra – jazz thing (feat. guru)
09. new flesh – communicate (feat. gift of gab)
10. international pony – les parapluies de saint georg
11. gaelle – aftermath
12. om’mas keith – you’re the only one 4 me
13. ino hidefumi – soshu-yakyoku
14. seelenluft – landkuer 1
15. ocote soul sounds and adrian quesada – coconut rock
16. joseph malik – aquarius song
17. united future organisation – pilgrims
18. sparkle – plenty of good lovin’
19. sonny boy – yesterday
20. yukihiro fukutomi – love is to blame (feat. isabelle antena & ernesto)
21. tarika blue – sun thru winter.

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THE #REALHIPHOP FILES // featuring JUNCLASSIC

after a brief respite, we’re kickin on with the last handful of interviews with the featured artists offa Pete Marriott‘s solo LP #REALHIPHOP.

JUNCLASSIC

VEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

JUNCLASSIC: Peace. My Name Is junclassic (one word all small letters). I Got Into HipHop By Rhyming In The Cafeteria And On Street Corner Cyphers In The Mid 90s. Found I Had A Passion For It and People Dug My Punchline Prowess and Passionate Delivery. I Found Writing As A Great Form Of Therapy. Thats What Kept Me Doing It Till This Day.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

JUNCLASSIC: Pete Did A Dope Mix For Me Called 7 Modes Of junclassic Back In 2011. He Dug My Work and Asked If We Could Collab. Once I Heard His Beatwork I Agreed Immediately. I Am Proud Of The Two Joints We Have On The #RealHipHop Project.

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

JUNCLASSIC: Unless The Producer Has A Specific Topic In Mind, I Listen To The Beat and Let It Direct Me. Pete Let Me Do Me On Both Joints I Have On His New Project. “Foundation” Is A Political Joint, Speaking On The Ills Of Society From The Consequences of Global Warming To The Prevalence Of Self Hatred In The Hood. “Gotta Get It” is More Of A Celebratory Song With A Dope Bounce To It.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

JUNCLASSIC: Real Hip Hop Is Hip Hop Done From The Heart. Its Not About Posturing Or Spitting What You Think People Want To Hear. Nowadays I Think You Can Hear The Difference. Real Hip Hop Is For People Living and Dealing With Reality, Not Fantasy.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

JUNCLASSIC:Broken” Featuring Scarface Off The Pinata LP With Freddie Gibbs and Madlib. That Beat Is So Soulful. And It Was Dope To hear Gangsta Gibbs Talk About Stuff Outside Of Being Gangsta, Like His Estranged Relationship With His Parents and His Father Being A Crooked Cop. Gives The Listener More Understanding As To Why Gibbs Got Into That Gangsta Sh*t.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

JUNCLASSIC: Thank You For This Interview. Huge Shout Out To Pete Marriott. I Describe His Beatwork As A Hybrid Between Pete Rock and Timbaland. Yep. He’s That Unique. And Dope. You Can Peep My Music At junclassic.bandcamp.com. Also soundcloud.com/junclassic. Get At Me For Bookings and Features Via twitter.com/junclassic. Stay Up. Peace.

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THE #REALHIPHOP FILES // featuring BARRY CORLISS

switching gears a little bit, i got to chat with Mr. Barry Corliss, who worked with Pete on mastering the #REALHIPHOP LP.

#REALHIPHOPVEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

BARRY: Hi. I’m Barry Corliss. I own and operate Master Works, a mastering facility in Seattle, WA.

How did I start?

After many years as a musician, I put together my own studio in the mid 90’s. I was an early adopter of the new digital technology, and I was one of the very first people in the Northwest to be able to make a CD. My musician friends, who were making recordings in local studios, came to me to make CDs of their projects.

They asked if I could maybe do a little mastering while I was making the CDs. It quickly became apparent that mastering was my true forte in music. I decided to stop playing and focus all of my energies on one thing, mastering. For several years I worked out of my home studio. In 1997 I opened Master Works in Seattle, and have been at that same commercial location ever since.

Why do I continue to pursue it? You know… music is something that is in the blood! What else would I do?

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

BARRY: I started working with Pete Marriott in 2011. We got along really well. Pete was making fine tracks, and the listener response was very positive. Many years of Pete‘s hard work have led up to #REALHIPHOP‘s release. It didn’t happen overnight!

VEE: what is your mastering process like & how involved do you get with the producer when working on the finished product?

BARRY: My mastering process is something that has evolved over the last 20 years. It is my personal method, rooted in my concept of good sounding music. I don’t use any software plugins in my mastering. I use high end analog and digital outboard gear. I prefer the sound quality I achieve using these tools.

I’m not a believer in gimmicks in the mastering process. I don’t believe in heavy multi-band limiting or compressing, I consider it unmusical. In fact, I never compress hip hop! Compression reduces the dynamic range of the beat, and that’s not something I want to do. I have my own techniques for achieving loudness and impact without sacrificing the breathing dynamic of hip hop.

How involved with the producer do I get? I’m not a mastering guy who takes whatever you give me, does something to it, and shoots it back. If I think that a remix or tweak will significantly improve the final product, I’ll say it. Often specific issues are better dealt with in a remix, rather than with a “fix” in mastering. The bottom line is always the best possible end result, no matter what it takes!

I’m fortunate to have worked with many talented producers and artists over the years… Jake One, Macklemore, Blue Scholars, Vitamin D, Amos Miller, Pete Marriott, and many, many more. I’ve learned a lot from them and their projects.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

BARRY: To me, “real hip hop” is a personal statement. Tracks about riches, bling, gats, super expensive cars, drugs, gangsterism and excesses may be entertaining, but when its just an obvious fantasy, that’s hardly “real hip hop”…

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

BARRY: Why, Pete Marriott‘s #REALHIPHOP of course!

VEE: last but not least, where can people go to request you for work?

BARRY: I have a website: http://www.master-works.com that is a good starting point.

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THE #REALHIPHOP FILES // featuring OTOMATIK

OTOMATIKnext up in our series of #REALHIPHOP interviews, we bring it in right with emcee OTOMATIK.

VEE: Before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

OTOMATIK: It is a pleasure to be here with you Vahe and part of #REALHIPHOP, so thanks again to you & Professor Pete Marriott! I’m  Ozdille’ The Otomatik. Everything in my life connects me to Hip-Hop. From seeing my uncle kill the floor on Beat Street to my best friend being the super talented DJ Joe Black. Unforgettable cyphers with my brothers to reigning victorious in challenging battles, to the inception of 6 Line Records. Hip-Hop has been and  always will be my life. What drives me is growth.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

OTOMATIK: Pete Marriott is a professional, passionate, perfectionist. Spoken highly of by one of my mentors, Al Nazon. We chopped it up online and grew a mutual respect for one another. I asked for his opinion on something I recorded and even sent him the lyrics considering he may not have caught everything since i was spitting fast. I would say that made him a believer of me as an emcee and drove the desire for me to be part of #REALHIPHOP. this is the first time I have worked with Pete but it is definitely not the last 😉

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

OTOMATIK: Time stops, of course not literally but i am in an impenetrable zone. It could be fifteen minutes or five days. Once that clarity sets in for the record let me do what it do 😉 I am usually producing my own work but in this case I let Pete send me what he thought I would be dope on. A little suggestions here and there from The Professor but I was trusted to do what I do.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

OTOMATIK: The evolution of you with a hot flow on a dope beat. Nothing more. Nothing less.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

OTOMATIK: There’s good music out there I respect but my wig is intact lol.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

OTOMATIK: soundcloud.com/listentootomatik or soundcloud.com/remixahhremixx, email at  theotomatik@gmail.com & iTunes Search Heart & Lyrics.

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THE #REALHIPHOP FILES // featuring RANDOM (aka MEGA RAN)

RANDOM (aka MEGA RAN)today’s #REALHIPHOP-related chitty-chat comes courtesy of accomplished emcee RANDOM (aka MEGA RAN). peep.

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VEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

RANDOM: I’m Random, aka Mega Ran. Former teacher, current MC/producer and speaker. My early experience with music was Motown and Philly Soul music at home from my mom… I knew that from that age music was always better if you felt something, be it joy or pain. All these years later it’s still the love of my life.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

RANDOM: Pete and I knew each other from way back, and when I would pass through Seattle on tours, I’d ask Pete about coming through, and even DJing for me, and that always went well…. fast forward and Pete sent me a heat rock and I was honored to hop on it.

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

RANDOM: I like to listen to the track 10 or 15 times before I write a word, let the music take me someplace. I usually ask the producer what he or she imagined to be on the track, and then hopefully that lines up with what I’m thinking, but if not I like to take it to a new place and have fun with it.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

RANDOM: I feel like “real” is so subjective that anyone can define it differently…. so to me when I hear “real hip hop,” I think about authentic, organic beats, impeccable flows and wordplay, and dope concepts.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

RANDOM: It seems to happen every time Andre 3000 guests on a verse… but honestly as a complete work, the last track I heard that got me excited was Earl Sweatshirt‘s “Chum.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

RANDOM: all music is at megaranmusic.com, all info is at megaran.com, and contact is probably best on Twitter, @MegaRan or at the contact link on my site.
thanks!

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THE #REALHIPHOP FILES // featuring CARYS MATIC

Carys Maticnext up in our series of #REALHIPHOP interviews, we chat to Carys Matic, who ends up closing out Pete‘s LP with a poignant spoken word piece that sums up the overall themes of the album, and leaves us with a tingling sensation once the final bits of vinyl scratches complete the journey. take a squizz.

VEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

CARYS: My name’s Carys Jones, AKA Carys Matic, and I’m a poet/musician originally from the UK. I’ve been involved with music my entire life. I had piano lessons as a kid and started singing in church  (my father’s a retired pastor) and in the school choir. I also played trumpet, but the one instrument I stuck at was the drums. I started writing poetry at a young age, and began to combine poetry and music as I got older.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

CARYS: Pete and I first got in contact through the Beat Inn group on Facebook. He asked me to record a spoken word outro for his new album and I jumped at the chance. This is my first time working with Pete, but I hope to collaborate with him again in the future.

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

CARYS: I’m a bit of a scatterbrain by nature, I don’t really have one specific formula that works for me every time. In terms of collaborating with producers, it varies. Sometimes a producer will reach out to me, often they’ll already have a concept in mind as was the case with Pete, other times they’ll give me free reign. When working on my album ‘The Spaces in the Silence‘, I collaborated with a number of producers and musicians. Some of them I reached out to myself, others contacted me, and others remixed acapella pieces I’d previously recorded.
I heard an instrumental I really liked by a producer named Prophet 9 and wrote a verse to it. I emailed him & sent him a video message of me rhyming over it and asked if he approved. He said he loved it, so I finished the track and recorded it. If he hadn’t liked what I did with his track, I wouldn’t have used it. I’m a big advocate of collaboration, but I’m not a fan of the ‘mixtape’ culture where often someone will hear a beat they like and record over it without permission.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

CARYS: Lately there’s been quite a bit of talk concerning what qualifies as ‘real hip hop’, and what doesn’t, the controversy surrounding Macklemore‘s success at The Grammys being a prime example.
For me, ‘real hip hop’ is about respecting the art form, creating for the love of it, being loyal to yourself and not compromising your motives for the sake of success.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

CARYS: That’s a tough one, because there hasn’t really been anything I’ve heard lately that’s slapped me upside the head and made me think “woah… what just happened?”. That said, I was impressed with Homeboy Sandman‘s ‘White Sands‘. Paul White‘s production really compliments Boy Sand‘s style, and his lyrics are on point as always. I also enjoyed Ty‘s ‘Kick, Snare, and an Idea’ project.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

CARYS: Via my website carysmaticjones.com. I recently took a hiatus from Facebook and I’m considering deactivating my account permanently, but for now I can be found at facebook.com/carysmaticjones. I’m also on Soundcloud: soundcloud.com/carysmatic, and Twitter: @carysmaticjones. My album ‘The Spaces in the Silence‘ is available for download from carysmatic.bandcamp.com.

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THE #REALHIPHOP FILES // featuring KILLAH TRAKZ

some more of that #REALHIPHOP knowledge via Killah Trakz.

KILLAH_TRAKZVEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

TRAKZ: Peace, my name is Killah (pronounced Kill (ah)) or K allah Trakz. Got into music from my childhood friend and partner in rhyme Brian Goode. In all honesty I just one day started freestyling out of thin air and it stuck. I’ve heard some of my songs got people emotional, even changed lives. I’m Haitian and it’s tough having strict parents who follow a more traditional role in upbringing children in a dominant way, so since I was always in seclusion I kept rhyming. I feel as though this new generation associate my heritage with street credibility, but as artists we’re overlooked and I want to really break that barrier.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

TRAKZ: I worked with Seattle-based producer Kev West on a project called #IHATEMIXTAPES which did phenomenal in numbers, and I guess Kev and Pete have history and the two spoke of me and now I’m here. This is my 1st time working with Pete.

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

TRAKZ: My writing process ….. If you hear, see, or I reply “WOO!” then the record’s done. 15 mins to write, 30 to record, so an hour of turn around time.  And producers usually give me full creative control on what I rhyme about.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

TRAKZ: Real hip hop is like explaining love. It’s a definition so broad and so wide (pause) there’s no one word or a fair sentence to describe it. So I’ll go with emotions through the beat, the rhymes, and the mood/setting.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

TRAKZ: Eminem‘s “Rap God” or Busta Rhymes, who always re-invents himself. Between those two but Eminem‘s “Rap God“, sheesh.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

TRAKZ: go to you favorite search engine and type Killah Trakz and everything would show up on me.

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THE #REALHIPHOP FILES // featuring DVS JACKSON Esq.

today we have a nice chat with one of MY personal favourite emcees that i’ve not only encountered in the last decade, but also had the pleasure of working WITH in some capacity. and that’s signor DVS Jackson Esq. this man’s wordplay has long impressed the fuck out of me, and to have him included on Pete‘s #REALHIPHOP LP is something i was kinda hoping for (actually i wanted a whole project to materialise b/w the two, but this is a damn good start).

DVSVEE: before we get into it, could you kindly introduce (or re-introduce) yourself to the folks at home? how’d you get into this music thing and what continues to drive you to pursue it?

DVS: Hello, world. My name is The Most Honorable Right and Exact DVS Jackson, Esq. DVS for short. I started out as a public speaker when I was still in Kindergarten. As I got older, that morphed into singing, then poetry and, finally, Hip Hop. I’ve been an MC for the better part of 15 years, and loving every minute of it. My motivational factors are a genuine love for the culture, a feeling that I have something to say…and the knowledge that after all of these years of dedication I’m still skilled at my craft.

VEE: how did your contribution to #REALHIPHOP come about & had you worked with Pete before?

DVS: My contribution came from Pete asking. Pete and I have known one another for almost a decade. We have dabbled here and there creatively, but there has never been a project tied to us. A vocal guest spot here, a remix there, but never anything concrete. So, when Pete mentioned he had a project in the works and wanted me to contribute, it was just a natural progression.

VEE: what is your writing process like & how involved do you get with the producer when coming up with topics or themes?

DVS: My writing process varies. I tend to write very quickly when inspired or when I have an idea of the intended direction. As such, my contributions to #REALHIPHOP didn’t take very long. Pete has always had a very good handle on what he is trying to accomplish. He also allows space for the artist to express themselves. It was really quite painless.

VEE: this may seem like an overdone question to ask, but considering the album’s bold title, what is your own personal definition or interpretation of “real hip hop”?

DVS: That’s a tricky question. I don’t think there is a real definition of what you consider “real”. Reality is relative. For instance, if you ask me who I listen to in the whip…I’m going to say Roc Marciano, Action Bronson, classics like De La and Tribe…and that’s my version of reality. Now my son, he is a huge fan of Flatbush Zombies. That’s his reality and I honor that. And since I honor his opinion, as well as my own and others who may not have as much “love” for the culture in the traditional sense…I tend not to trash Hip Hop I don’t personally understand or appreciate. I just don’t listen.

VEE: what’s the last piece of hip hop music you heard that flipped your wig?

DVS: Chance The Rapper‘s “Acid Rap Mixtape” completely threw me for a loop. Here was someone representative of my eldest child’s generation who obviously had some sense of MY oldhead sensibilities. In addition, he made a very CHICAGO album. There are so many inside references that hit especially hard for someone born and raised in the Go. From wordplay to his homage to Chicago’s “Juke” movement to a playful irreverance i feel the artform is missing….I totally honor and respect that young brother’s contributions to the game.

VEE: last but not least, where can people go to check out your music or to get at you for shows or features?

DVS: Well, my latest LP “DVS 4 Alderman” was released on Windimoto Records and is available at most online retailers, with an expanded edition available directly at http://windimoto.bandcamp.com/album/dvs-4-alderman-bandcamp-exclusive-expanded-edition.

I also have 4 EP’s that I’ve released for the unbelievable price of Free.99 available at http://waldorfandstatler.bandcamp.com with my partner in crime/brother from another mother tREBLEFREE. tREB is currently screaming at me to get my vocals in for the next EP…so stay tuned as more Waldorf And Statler is on the way. Thank you sincerely for you interest…and tell Pete Marriott to hurry up and release this album so I can get my cheque. Dreams don’t run off promises, goddamnit.

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Vahé:LeisureCAST – 027. ///MACADOCIOUS///

MACADOCIOUS

Vahé:LeisureCAST – 027. ///MACADOCIOUS///

in an attempt to finally catch my own tail and restart this BLAUG somethin proper, here is a 3+hr mix of the finest unheralded, underrated and largely unheard G-FUNK classics i could find (released approx. 4 months ago). i spent many months sorting through hundreds of joints to arrive at these 47. plz enjoy in good health, and by that i mean smoke a fat one n float off to the sounds of the fonk.

tracklist:

01. domino – macadocious
02. kid fresh – hard wit da smoothness
03. asa – the other day
04. da fam – i like (feat. el debarge & amg)
05. peeps – why (prod. by battlecat)
06. lil’ gene (aka mr. sandman) – 1996
07. big jake – pimp til i die
08. dallah’ man (aka jimmy da gent) – hey you
09. mc quake – drop top caddy
10. boo – 12 in the mornin’
11. presidential playas – gotta be down
12. mr. x – playa’s life
13. double k.o. – trop a l’ouest
14. b.g. knocc out & gangsta dresta – compton hoe
15. dead end – my deeds is done (remix)
16. g pack – pass the dank
17. big fellas – we put it down
18. kock d. zell – reason
19. sk – real good
20. 3-2 – them against me
21. rev up musicc – live 4 die 4
22. fat daddy – not one could do me
23. flow click – rollin’
24. battlecat – swerve on
25. n sane – female gee (feat. le le)
26. 815 click – feel it
27. aelpeacha – mets de la funky
28. ceaser – thank god
29. the dove shack – smoke out (feat. montell jordan)
30. cleaveland city crooks – throw ya’ hands up
31. poppy – my day
32. gangsta boogie – block party
33. romey rome – bounce with me
34. city to city – suspect
35. mob affiliates – paper chase
36. pat chilla – hard on my grind
37. daddy-d – southside
38. pede – let me be
39. g double p – high
40. dee arthur – cognac sippa
41. that nigga winfree – it’s the juice (feat. milki, the mad wun)
42. hakim & j-mack – playalasticshitwedo
43. l. g. wise – responsibility
44. macadocious ent. – smoke with me
45. mad dog clique – heartless
46. 4 trey – ghetto situations
47. mw ghetto soldiers – smoke on.

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2-FOR-1 Nu Mixes For That Ass // THE HOUR’S GETTING LATE + L.I.A.S.Y.N.F (LOVE IS A SONG YOU NEVER FORGET)

i managed to squeeze a couple of new additions out into the LeisureCAST family (now almost 4.5 years deep) over the last 7 days, the first (#025) covering 2.5hrs of obscure 60s & 70s psychedelic blues rock to put you into some kinda hippyish trance. the 2nd (#026) delves into chill territory from whence my mixmastering and love of music was birthed, and includes a nice even mix of old faves and brand new bangers (but nothing really before the mid-90s). til i get the archives sorted and provide the tracked/separated versions (via mediafire), plz enjoy em as standalone mp3 files via SoundCloud below 🙂

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Vahé:LeisureCAST – 025. THE HOUR’S GETTING LATE

trackleest:

01. morgen – love
02. pinnacle – astral traveller
03. octopus – restless night
04. bang chan – nhung dom mat hoa chau
05. the zig zag people – peel it off your face
06. bent wind – mistify
07. aum – you can’t hide
08. the things – i don’t believe
09. ashkan – one of us two
10. dog soldier – pillar to post
11. the open mind – i feel the same way too
12. may blitz – smoking the day away
13. jasper wrath – odyssey
14. saturnalia – and i have loved you
15. ultimate spinach – visions of your reality
16. strawberry alarm clock – curse of the witches
17. blue cheer – peace of mind
18. tea company – you keep me hangin on
19. them – square room
20. ash ra tempel – light look at your sun
21. krokodil – sunlight’s beautiful daughter
22. meic stevens – yorric
23. hurdy gurdy – peaceful open space
24. insect trust – special rider blues.

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Vahé:LeisureCAST – 026. L.I.A.S.Y.N.F (Love Is A Song You Never Forget)

trackleest:

01. cassius – interlude
02. eric roberson – still (dj kemit & ahmed sirour remix)
03. om’mas keith – slow motion
04. don-e – find you
05. brushing dead – everybody wants your pussy
06. dre-kay – longing for tomorrow
07. adriana evans – after the party
08. shafiq husayn & the dove society – twelve (feat. breezy lovejoy, j. mitchell, jimetta rose & mprvs)
09. laurnea – sun don’t rain
10. static major – playground
11. ambersunshower – serengeti plains
12. darryl reeves – she said
13. sweater beats – anxious
14. adrian younge presents the delfonics – lover’s melody
15. bilal – catch what i’m throwing (prod. by steve mckie & adam blackstone)
16. katriina – spared your kiss
17. i’ced – angel
18. tennille – yellow haze (feat. sir michael rocks)
19. king – in the meantime
20. rochelle jordan – shotgun
21. chris bowden – telescopic two
22. terrance downs – when we meet (prod. by chris brann).

V.

D’ANGELO + ?UESTLOVE // “Brothers In Arms” // Live @ Brooklyn Bowl // 04/03/2013

DnQuestoBrothersInArms

i know everyone’s still quite antsy in the pantsy bout D‘s upcoming return with that third untitled LP, but don’t pretend like you’re not enjoying the road LEADING to that album. i don’t wanna hear anymoar complaints bout this shit. i’ll even promise to not bitch n moan about it my damn self if yous don’t. yes? ok done deal. this recent duo-only gig @ Brooklyn Bowl should help with that promise, as it throws back to those beautiful chill b-side cuts from the Voodoo sessions, ones generally involving just D’ on keys and ?uesto on drums. they step it up a notch here though as D handles keys, bass and guitar solos, re-interpreting his own material and doin a gaggle of covers as well. much love to “soundbetter” for providing the full set in pretty decent quality. lap it up D-stans!

trackleest:

01. go back to the thing/let me have it all (Sly & The Family Stone cover)
02. cosmic slop (Funkadelic cover)
03. woman’s gotta have it (Bobby Womack cover)
04. the line
05. you caught me smilin’/africa talks to you /the asphalt jungle (Sly & The Family Stone cover)
06. tell me if you still care (The S.O.S. Band cover)
07. our love has died (Ohio Players cover)
08. the root
09. really love
10. alright
11. mother’s son (Curtis Mayfield cover)
12. new position (Prince cover)
13. africa
14. encore break
15. lady

V.

MISTA VEE PRESENTS…THE D’ANGELO SUITE: PT. I + II

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in anticipation of the new D’Angelo record that is reportedly around 90% complete (with a likely 2013 release), i fucked around and compiled the 2nd in the”Suite” series of mixes that began with THE BABYGIRL SUITE. it’s a 2-part mix, the first displayng the finest bootleg remixes i could find, and the second showing off the coolest D’ covers i’ve ever heard. enjoyuh.

MISTA VEE PRESENTS…THE D’ANGELO SUITE

PT. I

 

tracklist:

01. BROWN SUGAR (KRISWONTWO Remix)
02. LEFT & RIGHT (SAM CHAMP Remix) (feat. REDMAN & METHOD MAN)
03. DEVIL’S PIE (NULOVE Remix)
04. BROWN SUGAR (HEARTBREAK SOUNDSYSTEM Rework)
05. LEFT & RIGHT (MFP’S JX-3P Remix) (feat. REDMAN & METHOD MAN)
06. DEVIL’S PIE (SOJO Analog Remix)
07. INTERLUDE (By BOOMBAPTIST)
08. BROWN SUGAR (AL FINGERS 83 Remix)
09. LEFT & RIGHT (RED ASTAIRE Rework) (aka FOLLOW ME) (feat. REDMAN & METHOD MAN)
10. DEVIL’S PIE (MUNDAS MUNDASINSKI Remix)
11. BROWN SUGAR (DESTREMENTS Remix)
12. LEFT & RIGHT (RUFF SNIPPITS Remix) (feat. REDMAN & METHOD MAN)
13. BE HERE (JBIRD Remix) (with RAPHAEL SAADIQ)
14. BROWN SUGAR (DREAM MERCHANT Remix)
15. DEVIL’S PIE (PAUL NICE’s Dirty Little Bossa Blend)
16. LEFT & RIGHT (FREDDIE JOACHIM Remix) (feat. REDMAN & METHOD MAN)
17. BROWN SUGAR (MENDOZA’S Remix)
18. ONE MO’GIN (BOOTY SWEAT Remix)
19. BROWN SUGAR (CHRIS BLAKK Remix)
20. LEFT & RIGHT (ISHFAQ Rework) (feat. REDMAN & METHOD MAN)
21. I BELIEVE (SIMBAD Remix) (with Q-TIP)

PT. II

 

tracklist:

01. L33 – INTRO
02. SYDNEY SOUL COLLECTIVE – BROWN SUGAR
03. (RAS) RIDERS AGAINST THE STORM – DANGER ZONE
04. MARK LEVANG & BERN – SPANISH JOINT
05. MASSIMO BORSELLINI (MB) – CHICKEN GREASE (Live Session)
06. CHIEF – SO FAR TO GO (feat. MOKA ONLY)
07. MARA HRUBY – SEND IT ON
08. J BARBER – ONE MO’GIN
09. MATT PARAD – THE ROOT
10. CON BRIO – SHIT, DAMN, MOTHERFUCKER
11. EBRAHIM – I FOUND MY SMILE AGAIN
12. PAUL RAJ – UNTITLED
13. STAS MARKEVICH – FEEL LIKE MAKIN’ LOVE
14. SAMANTHA RISE – ONE MO’GIN
15. UNCLE DADDY – BROWN SUGAR
16. CJTUNE – LADY
17. MAX SWAN – ONE MO’GIN
18. RUDY CURRENCE – NOTHING EVEN MATTERS (feat. MEELAH of 702)
19. NELSON VALENTINE – AFRICA

V.

GENERIC 80s BAD GUY // GNRC80sBDGY VOL. 2

GNRC80sBDGYVOL2

so i managed to sneak in one moar mix before 2012 was all said n done, and it happens to be one of the sickest ones yet. i dont normally gas myself up like this unless i truly impress myself, so yknow, not shit-talkin here. VOL. 1 has racked up quite a bit of positive feedback and stats since i released it over 6 months ago. and now i bring yous VOL. 2. whilst 1 was mostly an upbeat affair, i chose to take a more meditative approach this time around, starting off slow, increasing in tempo, and then finishing slow as well. somehow it all works as a whole. please listen/dwnld/share the good vibes if you feel it to be worthy.

MERRY NEW OONTZ YEAR!

 

(tracklist is available only on the SoundCloud page).

V.

A LONG HOT SUMMER // Mixed + Selected by CHRIS BRANN from ANANDA PROJECT (2012)

this week is mos definitely an Ananda Project-centric week, full of deep house gems from the master himself, Chris Brann. during my healthy smothering of tunes i happened upon yet another deep mix that was released this year and featured Chris at the helm: “A Long Hot Summer” via King Street Sounds. tracklist below. download/buy from beatport. peep one of the tracks from the mix below via YouTube. n since Summer is just around the corner on my end of the Earth, these audio vibes are anything if timely. peace/luv/light.

01. Tuccillo & Kiko Navarro – Quartett O’batalistrico (Main Mix) (9:17)
02. Ananda Project – Into The Sunrise (Kiko Navarro Disco Mix) (feat. Terrance Downs) (8:38)
03. Franco De Mulero – Porroig (Original Mix) (7:12)
04. Ananda Project – Universal Love (Jay-J’s Shifted Up Mix) (6:44)
05. Namy – There She Stands (Frankie Feliciano Vocal) (feat. Monday Michiru) (7:08)
06. Lips – Time is Now (Groove Assassins Remix) (8:15)
07. Soundealers – Keep On (8:56)
08. Franco De Mulero – The Darkness String (9:58)
09. Sunshine Jones – Warm Sun On My Face (Dub) (8:56)
10. John Rivera & Esteban Carrasco – Attempt To Dream (7:09)
11. From P60 with Lisa Shaw – Magic (Forteba Remix) (8:26)
12. Tiger Stripes – Song for Edit (feat. Kerri Chandler) (6:36)
13. DJ Vivona & Joi Cardwell – Return To Love (A Directors Cut Treatment) (7:26)
14. Trans of Life – Foi Voce (9:37)
15. Ananda Project – Kiss Kiss Kiss (Alternate Mix Re-Edit) (feat. Heather Johnson) (7:39)

V.

MAXWELL // Live @ Paradiso, Amsterdam (1997)

it has been YEARS since i heard this full high-quality bootleg recording of one of Max’s earliest live gigs, performed in 1997 at Paradiso, Amsterdam. it’s only 8 tracks long (roughly 42mins in length) but it showcases Max and his band’s knack for re-interpreting his own songs. there are some alterations made to some M standards here that i haven’t really heard anywhere else. not much is really known about this bootleg or how it even surfaced to begin with, alls i remember is chancing upon it i THINK from the Soulseek days. regardless, this should be a collector’s item for ANY avid Maxwellian fanatic.

01. The Urban Theme (2:25)
02. Welcome (4:49)
03. Dancewitme (5:50)
04. Lock You Up N’ Love Fa Days (4:30)
05. …Til The Cops Come Knockin’ (The Opus) (Pt. 1) (5:48)
06. …Til The Cops Come Knockin’ (The Opus) (Pt. 2) (7:45)
07. Ascension (Don’t Ever Wonder) (Pt. 1) (6:35)
08. Ascension (Don’t Ever Wonder) (Pt. 2) (4:50)

:::DOWNLOAD:::
zip | rar

(links updated as of 28/06/2015)

V.

MISTA VEE PRESENTS…THE BABYGIRL SUITE: PT. I + II (my 2012 AALIYAH tribute mix featuring the finest babygirl bootleg remixes & covers)

presenting my two-part tribute to one of the most influential female artists of her generation, Aaliyah Dana Haughton. i have spent a decade wondering how i could show my love and appreciation for this lady being a part of my musical upbringing (by way of the massive talents of Da Bassment clique’s Timbaland, Missy Elliott and Static Major). and instead of just putting together a best of compilation as anyone else can, i scoured the Internets instead to find THE finest bootleg remixes and cover versions of babygirl classics. i believe this is the best collection as any you will find online.

4babygirl.

MISTA VEE PRESENTS…THE BABYGIRL SUITE: PT. I

01. INTERLUDE (By XplosiveDJAntman) (Intro)
02. 4 PAGE LETTER (CFCF Remix)
03. pOSH – A MILLION(M)
04. WE NEED A RESOLUTION (MIṨTΔṾΞΞ RESOLVEITMIX)
05. ARE YOU THAT SOMEBODY (SANGO Remix) (feat. TIMBALAND)
06. AALIYAH x DAM-FUNK x SHASH’U – ROCK DA BOAT
07. TRY AGAIN (DANIEL DARDEN Remix)
08. ONE IN A MILLION (EAR JERKER Remix)
09. ARE YOU THAT SOMEBODY (TKo Remix) (feat. TIMBALAND)
10. ROCK THE BOAT (STRAM Remix)
11. COME BACK IN ONE PIECE (NICE GIRL, WRONG PLACE Remix) (feat. DMX)
12. TRY AGAIN (DJ SQ‘s Dancehall Remix)
13. ARE YOU THAT SOMEBODY (GENTLEMEN THIEVES Remix) (feat. TIMBALAND)
14. ROCK THE BOAT (ELAQUENT Remix)
15. IF YOUR GIRL ONLY KNEW (SOULSPY Edit)
16. COME OVER (ROB MANGA‘S Goodsoul Edit)
17. DON’T KNOW WHAT TO TELL YA (ALEX DATSUN‘S Edit)
18. ONE IN A MILLION (DJ BOOGIE Mash-Up)
19. 4 PAGE LETTER (KAYTRADAMUS 1986 Remix)
20. A PRAYER

original cover art by BRANDON REDENIUS. re-coloured and re-touched by VAHÉ.

MISTA VEE PRESENTS…THE BABYGIRL SUITE: PT. II

01. KATERINA GEORGIO – ONE IN A MILLION (feat. JEM) (Intro)
02. MARK DE CLIVE-LOWE – MORE THAN A WOMAN (feat. NIA ANDREWS) (Live @ KCRW)
03. KYLA – AT YOUR BEST (YOU ARE LOVE)
04. THE ECHOCENTRICS – WE NEED A RESOLUTION (feat. TITA LIMA)
05. AMORIA & JOK’A’FACE – IF YOUR GIRL ONLY KNEW
06. SARAH HABASS – ARE YOU FEELING ME
07. BELL – ARE YOU THAT SOMEBODY
08. CHYLL WILL – ONE IN A MILLION
09. ANNA MUTIA – MORE THAN A WOMAN
10. YO SMOKE – I CARE 4 U
11. SMOKE E. DIGGLERA – ONE IN A MILLION
12. ANHAYLA – 4 PAGE LETTER
13. JENNA ANDREWS – HOT LIKE FIRE
14. CAYLA – I MISS YOU
15. SOJIE – ARE YOU THAT SOMEBODY
16. EPITHET MUSIC – ONE IN A MILLION (feat. FALLON DOUGLAS)
17. COLLATERAL – TRY AGAIN
18. KINOKONIJI – ROCK THE BOAT
19. THE XX – HOT LIKE FIRE
20. FOREST SWORDS – IF YOUR GIRL
21. JAKE “JUNNY” KIM – ONE MAN WOMAN (feat. CARMINA)

original cover art by MEZMACKO.

V.

Re-Introducing: PETE MARRIOTT

not long ago this blog released its debut mixtape series, similarly-titled: CONFESSIONS OF A CURLY MIND Vol. 1. it ended up being one of my favourite mixes to ever compile, as i got to be exposed to a shit-ton of new and old music i woulda never heard otherwise. among them, however, was Pete Marriott, a musician whose previous works had already spoken for themselves as far i was concerned. from him, i can always count on quality. after treating us to a rough cut of his newly-released vintage-era hit “The Kidnapping” (featuring emcee Romance) on the mixtape, i got to recently speak with Pete about his current status within all things deemed creative, artful even.

V: Mr. Pete Marriott! since last we spoke you were in the process of dropping “The Kidnapping”, the unmastered snippet version of which appeared on this blog’s debut mix series. the song got quite a bit of positive feedback, a lot of friends and associates would specifically point that song out to me as a highlight in the mix. so how did the release of the single go and how have the people reacted to it?

P: i’m very grateful people are enjoying “The Kidnapping” and that the hip hop world is finally getting the opportunity to hear my dude Romance. he deserves this success more than anybody involved in this record, so to see this particular record do well on the radio mix shows and how it’s charting is a nice victory for us.

i’ve recently done a regional radio promo tour flying from city to city visiting radio stations having lunch and dinners with DJs and bloggers to discuss the new record and our new imprint The BRKLYN Collection and day by day we’re gaining more support among DJs and Bloggers we’ve yet to meet with across the country and abroad. things look like they are moving in a positive direction.

V: it looks like you’ve got a GRIP of new stuff about to hit our ears. what’s in store/coming out soon, what are you currently working on and how is all this work impacting your life?

P: to introduce The BRKLYN Collection as an authentic music imprint we’re doing this Summer Singles Series of records i produced and remixed. “The Kidnapping” opened up everything and since then we’ve released an art house single featuring Killah Trakz called “Plant The Flag” which is also doing well on radio, a instrumental single called “The Rebirth of Mr. Soultronica” is on deck and we’re also about to drop a new art house single featuring JunClassic soon.

we also got a few new remixes on the way. i very recently done a remix for Frank Ocean that I turned in not too long and i got a new Erykah Badu remix i produced that i’m very excited about. Mark Fauver of the Aaron English Band and Noel Brass Jr. of Afrocop sat in on the mastering session with me for that one and their reaction to it was very positive which is a pretty strong indicator to me that i done a good job with it.

life has been busier than usual. there’s an interesting assortment of new records and artists i’m producing and two music related projects i’m not at liberty to discuss yet that’s on deck, but for the most part, my production and remix calendar is progressing very nicely which has been making this year quite a pleasant time in my career.

i feel very fortunate and i appreciate all the people who are seeking me out and those who have been very receptive to working with us. just good energy all around.

V: what is the “Art House Hip Hop Movement”?

P: aside from music i’m extremely interested in other creative disciplines such as photography, design, filmmaking and fine art. other musicians, producers and recording artists i’m friendly with share similar interests and i wanted to have an outlet to express myself in ways i felt the underground hip hop scene has limited me in the past.

the movement is pretty much about branching out and spreading your wings beyond making hip hop records and bringing visual arts to the table. i personally want more than just the music, so instead of waiting for it to come around i’m taking it, building with other underground artists and producers who feel the same way and we’re bringing something new and different to the table.

V: how are artists/producers attempting to stay true to hip hops roots in 2012? and is it difficult to engage a modern audience with sounds inspired by golden era hip hop or is there still a real hunger for it?

P: it’s a very interesting time. i’m seeing these very dope new cats like Earl Sweatshirt, Joey Badass and Rid Jetson doing an updated version of my very favorite era in hip hop music and loving it because it all falls right on time with my releasing music i recorded 25 years ago like “The Kidnapping”. it’s a confirmation of what these kids really want to hear and i’m excited about this, because we’re offering them the real late 80’s early 90’s flavor with my forthcoming album rather than a recreation of it.

i actually made records during the golden era of hip hop that sound like what the kids are doing today so to see what i done 20 plus years ago come back around full circle makes this is a very beautiful time for me as a practitioner of real hip hop music because it’s a personal vindication of sorts.

V: along with yourself, a cat by the name of DVS has been one of my fav hip hop artists for a hot minute. you recently remixed a joint from his new release, and now a full length collab LP is in the works. can you touch on that briefly or is it still too soon?

P: i’m glad that my helping DVS out with that remix got the mix show DJs to pay attention to him and open quite a bit of closed doors for him in radio, DVS is an awesome lyrical talent who i actually believe in as an artist, but as of now… a Pete Marriott and DVS album are not in my immediate plans. it’s nothing personal against him, i’m just simply recusing myself from the very idea of working on that particular project.

V: what’s your process like these days and what is your preferred gear?

P: i’m in a very good creative space right now. i meet with artists over Skype and discuss their musical goals and create music around that conversation. i’m not into stockpiling beats and making beattapes, that process is inefficient and a complete waste of time for me.

i prefer to build a customised record for an artist completely from scratch. that’s the way we did things back in the days and the music making experience was far better back then because we took our time and placed our energy into making a solid record rather than trying to hammer out as many songs as possible to see what sticks.

when i start working on a track i think about moods and colors the artist conveys to me in our conversation beforehand and i sample my drums into my Casio RZ-1 which gives me a great 12-bit sound. i produced my very first single “Let’s Make Some Noise” when i was 15 years old using that very same drum machine that’s why my drums have that extra heavy crispness to it.

i sample my stereo loops using my Ensoniq ASR-X and ASR-10 because they have a deep rich low end to them that sound and feel even better when i resample them to Maschine where i edit all my loops and drum sounds with great precision.

i also have a Akai S900 that i use to sample my Les Paul and Fender Stratocaster guitars and my Washburn bass which i record using Tascam 134 or 238 decks depending on how dirty i want it to sound.

and i have a modest collection of hardware and software synths like my Casio CZ-5000, Yamaha TX-81Z, Komplete 8 Ultimate which includes Kontakt and if i were ever to brag about anything, it would be about my Kontakt library. my Kontakt library is nearly at 2 terabytes as it is right now. i’m also becoming addicted to building equally strong libraries for Maschine, Massive and Reaktor.

there are some who may say that’s overkill, but those are usually the guys who are married to one sound and style. i’m a strong believer in being versatile and having a expanded musical range as a record producer so if i get to work with artists like Fiona Apple, Joss Stone or Taylor Swift I want to be more than prepared for that situation.

V: from what i can remember you’re a fellow champion of the lightweight but heavyduty FL Studio rig, one which i’ve personally used for over a decade. it seems every random producer i’ve ever met and had a conversation with chooses to utilise FL as their main (or secret) weapon. how long have you been messing with FL Studio, what are its overall advantages compared to more popular programs/setups and what led you to using it in the first place?

P: i’ve been a FL Studio user since version 2 which is the epicenter of my studio today. Alex Abellard of the Kompa band Zin’ introduced it to me at his studio in Brooklyn while working on a project together. i was very stubborn and not open to the idea of using software. in fact i was all about the MPC during those days but he made me realize how much easier it would be for me to do sound design with it and that’s how I got roped in.
FL Studio is extremely powerful and way ahead of its time, other DAWs are just beginning to catch up to it and i think what makes it much more valuable to me is that’s it’s such a flexible application that’s lots of fun to mix a record with, it’s almost too much fun which is why i think i spend so much time in my studio. it’s just addictive in that manner.

i’m currently mixing a single that has a very heavy drum sound with orchestral flourishes and jazz overtones. i’m able to create complex automation sequences that allows my string section to vary in levels during particular musical cues while changing room sizes and EQ settings within those passages, this gives the listener a true sense of emotion while listening to the song and i’m doing it so quick and smooth that these transitions are not easily noticeable, but on the subconscious level you’re feeling these movements within the mix and that’s part of what makes my production stand out.

FL Studio makes it simple for me to enact such complexities into my music because it was brilliantly designed to do so much while having a such a fun experience doing it. i don’t think there’s anything lightweight about FL Studio at all, it’s just a smarter DAW than the others.

V: you’ve also done work for other producers in terms of sound design but now you’re only willing to go so far as the mixing of the record. what made you come to this decision?

P: let’s put it this way. i had to make a business decision for myself as a record producer first and foremost, because it got to the point where the business of doing sound design for hip hop producers was no longer in my favor. aside from the money, i want my credit and these guys don’t want to give that credit up because the way they see it their fans, who are mostly aspiring producers themselves, will lose respect for them which in my opinion is a ridiculous notion.

i mean i understand the part where their fear of not being seen as super as they make themselves out to be could be derided, but the idea of you losing fans because you don’t really do it all in the studio is absolutely silly to me. i believe record production comes down to leadership in the studio, that’s why guys like Dr. Dre and Diddy had and continue to have great runs as record producers because they understand it’s about leadership first and foremost.

but then you got these guys who pride themselves as beatmakers and they don’t want people to know that a guy like me built their drum sound, programmed their synth patches, recreated samples for them. so i pretty much grew tired of it and decided not to do sound design for anyone else but me and i’m not gonna call out any names but some of my former clients newer records are not on the radio. is it a coincidence? you tell me.

now as for mixing, i mostly offer that service to beatmakers who don’t know how to mix a record let alone oversee a mix. there’s a lot of dope beatmakers out there but not too many of them are involved in the actual record making process.

as a DJ i used to get disappointed by this, but i’ve come to accept it for what it is thanks to conversations with Kev West who revealed to me that a lot of the artists don’t want to be produced by producers who’s name they don’t recognize, which basically is just another form of starfucking and that’s deeply sad. the majority of these new artists just want you to email them a beat and they record over it. i can easily go on the attack and point out how stupid that is of these artists, but why waste my time putting that sort of energy out there?

i’d rather work for beatmakers who have a clear idea of what they want their music to sound like and they can sell the artists on the fact that Pete Marriott, a veteran record producer with multiple major and indie label credits, will be on the mix. and if they are willing to pay extra they can get it mastered by the mastering engineer i work with.

that right there gives that beatmaker instant credibility and the power to take control and lead that artist’s record thus increasing their value and budgets. just like with my sound design i have a very selective client base, but the difference here is not only do i get my money, i get my credit too.

V: have you done work outside of hip hop? are there specific genres you’d like to tackle or do you go with the flow?

P: of course! i’m a record producer who just happens to do mostly hip hop records, because that’s what i’m known for, but i’m no way in any form limited to just hip hop music. i have depth range that extends far beyond hip hop.

i’m currently searching for the next Fiona Apple to work with. i want a female singer/songwriter that is on Sylvia Plath levels of poetry, yet bold enough to really go there musically, but i don’t want her to be an MC that happens to sings, she gotta be a full on vocal artist. i don’t know when i’ll come across such an artist, but when i do i will know it and i will jump on it and make it happen.

V: the mantra “Hip Hop Is Dead” has been around for a little while now, and it’s my personal opinion that it’s insulting to even suggest such a thing when there’s dudes like a Pete Marriott out there not only keeping the genre and the culture alive, but also churning out HOT tracks. so was hip hop ever truly in dire straits? was it a record-selling tactic? and what do you think the future of hip hop will look and sound like going forward?

P: let’s be honest, hip hop did go through a very bleak period where there lots of musical missteps in both the mainstream and especially in the underground. there was a very stale period where so many cats were only sampling and chopping soul records which not only got very boring and stale quickly but it was done in very bland ways that was pretty banal.

it unfortunately was a low period in hip hop music overall and people finally woke up from that slumber and now you’re seeing the return of the jazz sample fusing psychedelic rock, metal, funk, reggae and soul and it’s being layered in key rather than just chopped, and because of this the hip hop audience that got bored or annoyed with soul chopping will return and new hip hop fans will fall in love it with.

i have no crystal ball, if i did, i’d use it but what i do have is the ability to listen to the people and what they want out of the music. i don’t know if it’s the insulation of the Internet or what it is, but i find that most of these new guys behind the beats today are not listening to the people and they don’t go into the clubs and observe what the people are reacting to.

maybe i have that advantage because i’m a DJ, which is why i think it’s easier for my records to get on the radio without my having to compromise my integrity, but that comes from paying attention to the people. like the EPMD record says “give the people what they want.”

V: thanks for your time sir! i know you’re a busy man these days. just wanted to add it’s been my pleasure to watch the Marriott empire grow n grow. lookin forward to all the new music!

P: thank you very much V, i’m truly grateful for your taking interest and being apart of your mixtape series. this is a great time for music and i’m glad to be in the midst of it.

V.

VAHÉ // VEE’Z DEMO TAPE (2012) // VEE’Z 90s MIX (SIDE A + B)

for the better part of 2012 i been tinkering around with my own music sheit, aiming to release a “demo tape” (online as well as on actual cassette tape). the hour is now upon us: this is probly the best collection of songs i’ve ever produced. the ingestion of which is made all the more easier by the entertaining interludes that also litter it (consisting of ppl i know saying random crap). while my vocal abilities could always improve, i stand by all the music on this 90min monster of a demo. a good portion of these will get the proper makeover and released as singles with guest vocalists (followed shortly thereafter by my first ever real foray into music videos. exciting stuff (for me)). as always, for anyone who has ever followed my solo musical endeavours, this shit is FO FREE. i’ve never charged money for my music for anyone and any situation, and i don’t intend to start now. i know that makes me sound like i’m up my own ass, but i merely state that as someone who enjoys a shitload of free music, it ain’t no thang for me to do the same. besides, i’ve never relied on any aspects of my creative self for financial stability. hard enuf trin to find any kinda work these days, let alone ur dream shit. ANYways, as we return from tangentland, please enjoy the following demo with an open mind and sense of humour. i feel closest to this project more than any other right now, like i just released a baby from my teet (i’ll stop talking now).

trackleest:

01. VAHÉ – INTRO
02. EMERΔLD JULIUS – EMERΔLDΔNGELDUST
03. THANK GOD IT’S EASTER (Interlude) (feat. BIG BOOTY SNATCHER)
04. CHACHI MANDELA – BEIRUT @ DUSK
05. THE TIM TAM RISES (Interlude) (feat. BIFF)
06. MIṨTΔṾΞΞ – ASTROFREAK
07. GENERIC 80s BAD GUY – BASTIANO’S REVENGE
08. OLAAAAA, MI AMO LO-LI-TAAA (Interlude) (feat. SHI-SHI McGEE)
09. CHOMPY RODRIGUEZ – HUBRIS
10. SAM JACK vs SEAGULLS (Interlude) (feat. ILL GABINETTO)
11. MIṨTΔṾΞΞ – CHEDDAR
12. VEE’Z GOT THE KEY (Interlude)
13. THE FRIENDLY BANDIT – CHANGES (feat. BASSCLEF)
14. VEENUS MARCIULIONIS – DARKSYDEUVLUV (feat. MIṨTΔṾΞΞ)
15. WHERE’S A FUCKING PTERODACTYL WHEN YOU NEED ONE? (Interlude)
16. EMERΔLD JULIUS – MONEY + FLOW (Snippet) (feat. GIGI)
17. HUSH/SLUT – REMINISCE
18. DOOJ (Interlude) (feat. MAKMUTMAT)
19. MIṨTΔṾΞΞ – JIEMBA
20. ODE TO VAHÉ (Interlude) (feat. AMAN10)
21. CHOMPY RODRIGUEZ – SUFFOCATING IN THE WIND
22. GENERIC 80s BAD GUY – SPYDER & THE VAMP
23. MIṨTΔṾΞΞ – BEYOND IMAGINATION
24. MIṨTΔṾΞΞ – LUCID (Interlude)
25. VAHÉ – A DREAM UPON WAKING
26. CROCODILE…MENISON (Interlude) (feat. PHONG DONG)
27. EMERΔLD JULIUS – FRΔNKS
28. MIṨTΔṾΞΞ – U KNOW
29. NANITES (Interlude) (feat. MEZCAL)
30. MIṨTΔṾΞΞ – SCREAM³
31. FFS! (Interlude) (feat. IGNATIUS BUNT)
32. PHYLICIA – MUCH LOVE (feat. MIṨTΔṾΞΞ)
33. I NEED ACTION (Interlude) (feat. MICHAEL TUGLESS)
34. HUSH/SLUT – HOTBOX
35. HUSH/SLUT – FALL (Interlude)
36. MIṨTΔṾΞΞ – I THINK THAT I SHOULD BE
37. EMERΔLD JULIUS – COSMOSIS
38. MIṨTΔṾΞΞ – OKAY
39. SOMEBODY TO PEEEEE ONNNN (Interlude) (feat. DEMOLI)
40. CHACHI MANDELA – MR. & MRS. CHACHI MANDELA (feat. CHORDS)
41. TO BE LOOVVVED, TO BE LAUWWWED (Interlude)
42. MIṨTΔṾΞΞ – SPECIAL FEELING
43. MIṨTΔṾΞΞ – ABOUT YOU
44. BOWLIN’, WARNEY (Interlude) (feat. CLUB NOIR)
45. MIṨTΔṾΞΞ – CAN’T GO HOME AGAIN

as a bonus, i’ve also compiled a 2-part 90s mix just as extra goodness to go along with my demo tape release. majority of SIDE A leans heavily in the dnb, jungle, 2step, garage, early house direction.

trackleest:

01. nookie – the blues
02. source direct – snake style
03. 3 rude bwoy – red eye dub
04. sunshine productions – above the clouds
05. crazy bald heads – first born
06. underground solution – tonight
07. sonic solution – music
08. antonio – take you there
09. deep sensation – get together (deep vocal mix)
10. daniel j. lewis – spend the night
11. blapps posse – don’t hold back (blappstrumental)
12. camden connection – deeper (tuff jam mix)
13. ceybil – love so special (original underground club dub)
14. the dat project ii – tech-vibe (zzz mix)
15. n joi – the kraken
16. a baffled republic – sweetness (i wanna ho)
17. fierce men on wax – go girl (heavenly girls mix)
18. tito puente – ran kan kan (masters at work 12″ club mix)
19. jodeci – won’t waste you (nick hussey remix)

SIDE B delves more into the kinda stuff i was weened on as a kid: new jack swing, hip hop & rnb. enjoy!

 trackleest:

01. mc brains – oochie coochie (12″ version)
02. level iii – groove ya (club mix)
03. kool skool – my girl (radio edit)
04. bubba – i like your style
05. shä-key – soulsville
06. masta ace – postin’ high
07. dj quik – can i eat it? (unreleased demo version)
08. digable planets – little renee
09. sha’dasious – u kan’t play me
10. clever jeff – late night tip
11. jade – five-four-three-two (yo! time is up)
12. sweet sable – old times’ sake
13. o.c. – can’t go wrong
14. black moon – killin’ every nigga (unreleased)
15. j. quest – come and give it (you know what i want) (feat. gina)
16. rocky padilla – jackie
17. intro – funny how time flies (slow mix)
18. sa-deuce – don’t waste my time (ballad remix)
19. kut klose – i like
20. vybe – slow and easy
21. vanilla ice – never wanna be without you

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GENERIC 80s BAD GUY // GNRC80SBDGY VOL. 1

presenting, one of the finest mixes i have ever crafted in all my years of mixmastering. it’s 96mins of some obscure synthpop and heavy synthbeats (ranging from German, Russian, Italo-Disco), some new wave, mixed in with some truly oldschool hip hop and electrofunk 80s sheit one could pop and/or lock to. i’ve also included some of the newer neo-80s synthwave joints that seems to be so prevalent on the Internets these days (thank blog). i’m withholding the tracklist for now, but anyone who wants it can hit me up @ genericbadguy1984@gmail.com & i’ll happy to provide it for u 🙂 right now it’s just the one-track download straight via Soundcloud. plz enjoy, boogie down and share.

 

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