Happy New Year my peoples, I wish each and everyone of you a prosperous and reflective 2017. May it be more progressive and filled with wisdom… – Mr Kuyateh
Welcome to The Brooklyn Word, the hiatus has been incredibly uplifting so check back from time to time to see and hear the growth.
We got some new music in the house…
Migos – Bad and Boujee The Remix Story
I’m chilling a few days ago, thinking I wanna do something different. That antsy feeling that develops with a producer in between releasing projects started bubbling.
Now i fux wit Migos, remember in 2014, I did the “Freak No More”Remix.
I appreciate their musical soul and ability to work cohesively as a team. Also their flow, which is in a lane they own. The New York side of me that is built on lyricism and wordplay is halted, enjoying simply their execution of Southern soul.
What if I flip a trap type production/flow, making it sound like something that I’d rock in the 90’s? What if I twist it up a bit, to something New York heads would bang on the radio back in the day… Brooklyn style?
That idea was persistent enough to where I fired the computer up, late late night as usual.
Imported the acapella and I wasn’t really sure what was gonna happen next. Typically i’d build a beat from scratch but this Jay Z instrumental (This Life Forever) that I flipped happened to be up. Well not happened to be up, it was the last project I worked on.
The beat is banging, let me test something out. So I chopped up the “Bad and Boujee” joint as a sample layer. Then created another sample layer chops and just kinda played around till something formed.
I’m kinda a one take type of producer, like 75% of the time. Working with what’s at hand improving and correcting. To me the first take is the most instinctive and natural, anything after is merely a correction of past mistakes (or so called mistakes, as mistakes are beautiful in production).
What I learned in about 20minutes, is that I didn’t have to do much time stretching of Migos/Lil Uzi Vert vocals. Their natural rhythmic pattern worked for the timing that I had. I’m thinking, oh snap, it more than works… it sounds dope and they sound like an early Outkast.
Then BOOM! I realized that the energy is the same with a twist. If their exposure to Brooklyn sounds was increased and they started feeling east coast type boom bap or melodic type productions, then they’re flows would adjust and meld itself to fit that musical form.
The production flowed quickly after that. I was able to make a few versions with the Jay-Z beat. Each of them spitting had it’s own vibe, like some old Wu-Tang “Protect Ya Neck” type shxt. Figured I’d play this bass on the keys and not make it too busy in the center spectrum.
With that, I hope you enjoy the sound vibes and check back soon ya hear! Salute – GK | TBW