Category Archives: muzak

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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THE #REALHIPHOP FILES // featuring JAZZ

we continue on with our dedicated coverage of all things #REALHIPHOP featuring a short interview with Jazz, who contributed to a couple of the joints on Pete‘s LP. he breaks down his musical history, production/songwriting process and his thoughts on hip hop.

JAZZ (aka Mista Jazzluvah)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?

JAZZ: First and foremost I am Mista Jazzluvah, formally of the Hip Hop/R&B group WHISTLE. We had such hits as “(Nothing Serious) Just Buggin‘”, “Right Next To Me“, “Always And Forever“, “Barbara’s Bedroom” and “Chance For Our Love“. I have wanted to do music ever since the 4th grade. I got my start in 1985 by way of Kangol Kid and Hitman Howie Tee.

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

JAZZ: Well Pete and I go way back to the days before WHISTLE. We both lived in Flatbush, Brooklyn and rocked out in the same musical circles. He and I reconnected about two yrs ago and talked about me coming back and doing my style of R&B. From there he did a track for me and sent me some songs he wanted me to drop hooks on. I wrote the hooks to two joints (“Nice” and “Lookout“) and the rest is history.

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

JAZZ: Well I write what I feel. I am a songwriter/producer myself so I just get the vibe or hear the track and give my viewpoint of what I hear. There are too many so called producers who aren’t that at all. I am a throwback to the days of Quincy Jones, Jimmy Jam and Terry Lewis, LA and Babyface, Gamble and Huff, Teddy Riley the list goes on. My Job is to make a song better. It doesn’t matter if I wrote it or not.

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”?

JAZZ: Real Hip Hop is hip hop from the soul. The kind of hip hop that takes you to a time and place that you cant forget. No matter what time frame or style.

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

JAZZ: I am feeling anything that has a flow and substance with good lyrics. I will always love hip hop even when I don’t like certain rappers or songs. I came from the essence of the block party and tape days. I feel like I am a singing Emcee. I flow on R&B.

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THE #REALHIPHOP FILES // featuring LaVeda DAVIS

as part of this BLAUG’s ongoing coverage of all things #REALHIPHOP, we got individual interviews lined up with most of the artists and contributors to Pete’s project. we’re kicking it off with the lovely LaVeda Davis. she breaks down her art, her process and how she came to be on the LP.

LaVeda DavisVEE: 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?

LAVEDA: Greetings. My name is LaVeda Davis. I’m a singer/songwriter originally from Miami, FL, and I have been singing as long as I can remember. My father played music all the time when I was growing up. I heard Luciano Pavoratti, Leontyne Price, Sarah Vaughn, Johnny Hartman, Otis Redding, War, Brooke Benton, Marvin Gaye, John Coltrane, Stevie Wonder, SalSoul Orchestra, Barry White, Issac Hayes, Santana, Ohio Players, Barbara Streisand, Dionne Warwick, Motown, Nancy Wilson, Shirley Bassey and many others.  I knew early on, that I wanted to sing.
I stay driven and inspired because I love music, and want to leave behind a catalog of great songs.

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

LAVEDA: Pete reached out to me and talked a bit about his upcoming project (#REALHIPHOP) and said he had a track in mind he wanted me to hear, and wondered if I would be interested in writing the hook and a few ad-libs if inspired. I fell in love as soon as I heard JunClassic. The track is dope, and I was humming to it immediately!!
This is the second time working with Pete. He remixed a single of mine (“Second Skin”), that will be released in the near future.

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

LAVEDA: Pete has been the only producer that had a theme in mind. Other than that, I am given free reign once I receive tracks. Generally, I listen several times, and let the music dictate what the story will be about. There have been rare occasions that a title will come first; and I will begin there. But usually, I will be lead by the mood of the track.

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”?

LAVEDA: For me, “real hip hop” is the raw, honest and imperfect soundtrack to our lives. You want to wear the message like a piece of armor.

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

LAVEDA: Anything by JDilla, flips my wig. I haven’t a clue to what is going on right now. What I have heard, doesn’t make me want to hear it again. So when I need my fix; I go old school (Tribe/Pharcyde/Slick Rick/Poor Righteous Teachers/De La Soul/Raheim/EPMD/KRS-1).

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

LAVEDA: Thanks so much for the invite. Was a pleasure chatting with you.

For Booking and features:
bookinglaveda@gmail.com
Manager – Stevie Robinson.

My new single was just released on HSR Records (#42 on Soulful House/Traxsource):
I SECOND GUESS MYSELF

SPEECHLESS (The Remixes)

LET LOVE HAPPEN (EP)
FACEBOOK
SOUNDCLOUD
TWITTER #1
TWITTER #2.

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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 🙂

COVER

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).

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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

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PETE MARRIOTT // Rap Demon (feat. DA’ LORD SUPREME)

RapDemon

Pete‘s comin back with a vengeance with some soon-to-be released material, possibly a double album: one side the new stuff, one the old. this joint from 1989, featuring Da’ Lord Supreme (one of a handful of emcees from Pete‘s original crew), might end up on the side labeled Demos & Masters, a collection of tracks from the late 80s/early 90s that Mr. Marriott has meticulously re-polished and essentially re-created. enjoy some quality hip hop & wait with me in anticipation for the full length release.

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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

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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).

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ALICIA KEYS + MAXWELL // FIRE WE MAKE

MAX+ALICIA

the one and only MAXWELL recently, for the first time in his 17yr career, has recorded his first proper collab with another artist: Alicia Keys for her new LP “Girl On Fire”. the result is a track called “Fire We Make”, a joint which sounded smooth enough for me to think that Max and HIS production team made the entire thing from top to bottom. not true. it was written and produced by Andrew “Pop” Wansel & Warren “Oak” Felder of The Knightwritaz, whose production credits have included some of the biggest names in recent pop history (as well some of the more cooler mainstream shit like Miguel‘s “Kaleidoscope Dream”). Max himself said that all he did was come in and lay down his vocals and then jet. the only criticism i would have of this hot jawn is that Alicia, while she may have excellent taste in music and for choosing Max in the first place, is heavily outmatched. her vocal shortcomings become pretty obvious when put side-to-side with Max’s crazy falsetto skills (even this late in the game, i’m hecka impressed M manages to pull it off). otherwise, this is the first A. Keys song i’ve ever played over and over and over.

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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)

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ANANDA PROJECT // Almost Human EP // feat. Terrance Downs (2012)

you wanna know how i know i’m having a good day? when the mastermind BEHIND Ananda Project gleefully shares with me his latest classic musical nugget directly on Facebook. and the nugget(s) is/are, of course, the LICK. no, possibly TWO licks.

and be on the lookout for the new full-length AP album, “Beautiful Searching”, coming out next month in Japan.

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