DaVillins(Brownville|RuckDown) recently dropped a dope track prod. byDJ Skizz called “Nia”, which is a dope track for the ladies and pays tribute to Nia Long.
The track is on their latest EP #Cashmeredice which dropped on April 7th. To have fun with promotion, they put the word out for a #niaremixchallenge and I responded with this remix which includes a Marvin Gaye sample flip.
The fun part was creating an experience around the production and hoping that the listener is able to connect with it. Mixing the layers and then mastering was a bit of a challenge but the sounds seem to resonate accordingly.
Let us know what you think ofMr Kuyateh’s and check out their latest release Cashmere Dice. Bless up
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I was thinking this would be a dope dance track, lol, my usual thought. But what direction and how it would go was completely up to fate. At first I arranged the whole track and then chopped it up into pieces to rock with.
There were a few different versions that were ok, but the final was it yet it was missing something. It did’t tell the story of Love and it’s struggles, it was simply a dope lil dance flip.
So as luck would prevail, I played the whole track which was already on a layer but not vocally stretched to match the beat. “That’s official!”, I thought. “lemme just stretch the track out manually (aka mad time consuming smh) and see what I have or if it end’s up being too much work for the moment.
I tried my best to just zone out and enjoy the slow flow. Thinking about it is counter productive and make any production task mad tedious and annoying.
Fast Forward a few hours and a few days of mixing it up properly for public listening and you have the track above.
I’m an 80’s baby at heart and 90’s Slow Jams representative. Haven’t had much time to create and had to vent through music recently.
With all the talk about the New Edition BET Movie, I figured it was time to flip an oldschool classic. I had this on plenty slow jam tapes back in the day. If ya know what I mean, just smile and continue reading.
This flip was subtle and maintained it general smooth flow, but with a driven Hip Hop vibe. I have a version with lyrics spitting over em, but for now enjoy this.
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
Im back in Brooklyn with new energy after having a relaxing week with the family enjoying nature to it’s fullest. I worked on this my last night away and added vocals last night.
The adding vocals is always a random thing, as I want to hear others on it but that’s a challenge in itself.
In the meantime, i’m filling the void and particular type of sound that’s flavorful to my ear. Hopefully my added vocals will allow others to hear that there is structure and definition to the sound.
The only trick is being dexterous enough to catch the rhythm of the offbeat jazzy riffs. I get it, but others i’ve learned takes time understanding that type of thing. All good though, i’m enjoying exploring this release as it’s breaking me out of a shell. So not my intentions to rhyme professionally, i’ll write/produce though.
Earlier this week… (updating shortly)
I caught this post from Pete Rock earlier this week, I had mix feelings that evolved those few allotted minutes. Check the clip of Lil Yachty on Hot97 Ebro in the Morning. He is XXL Class of 2016 and is labeled as one of the hottest rapper’s in the scene… (don’t laugh, it’s rather sad but the construct is what it is)
Now if you love anything about 90’s Hip Hop or the Hip Hop culture in general, your probably already listening and watching like “WTF is going on here?” baffled at today’s standard of the best.
Aged heads and culture purveyor’s measured and still uphold to the best Emcee’s being based on ability to flow, how dexterous they were verbally, street credibility, their production and so on.
One could argue that hits/sales were just as important, yes. But to those who wanted to freshest and best, we all knew the radio was a few steps behind what the hood was pushing and that was off of lyrical notoriety.
Today’s standards are the polar opposite. What would be corny by 90’s standards and true hip hop heads is the popular sound. WTF?
Here are the top 5 things that people based a corny rapper on:
Ability to freestyle
Confidence/swag on the mic/Crowd control
Flow with the rhythm/production choice
Now to be fair to the culture, these are some pretty damn logical qualities that one would want to have as a professional artist. But along with aged standards, come the responsibility to put in the work for it….
Many young musicians aren’t trying to hear that. They like “fuxk it! I’ll just put a track on ShxtCloud and bypass the real emcees that wouldn’t fuxk with me on their waste day. Get mad love from people that just enjoy the music but not really about that life and be good without a label deal.”
That shxt actually worked.
The new culture of artist have developed a social media ecosystem that support every whimsical and serious endeavor. Enough for labels, media and corporate sponsors to take em seriously.
So even if the all the hip hop heads never purchased one album or track, they’ll continue to eat since that fan base is not their main demographic support system.
Where does that leave lyrically gifted emcee’s and boom bap producers?
Exactly where they need to be, so they can rise up and take hip hop back. Hip Hop needs a lyrical shake up to cause that shift. I may be over zealous and sure it may be wishful thinking under this current construct.
Who knows, in the next few years, NYC could produce a lyrically dominant force that kicks the games bars up.
Until then, glad the OG’s and new 90’s culture heads are doing it.
Keep fighting the good fight, the war wounds only add character… salute – Mr Kuyateh
I’ve been feeling real musical lately and edits/remixes have been flowing out at an accelerated. Don’t by Tiller is one of those new tracks that I fux wit. His flow and demeanor is very chill and low key yet powerfully stated.
I wanted to rock with the already sexy vibe and create a track for the dancers that like to move a lil quicker. The AfroTrap Edit is a mixture of my original NabaKuFunk sound, latin vibes and the original Trap Soul foundation.
Merging it all was not intended as I never really know what direction it’s going to go in. Originally I had a more latin/brazilian vibe going but it didn’t seem as natural to my spirit though it sounded dope.
Then I did a more minimalistic version thats just sexy, subtle and quiet. It was dope but I still wanted to do something a bit more special and unique to my abilities. That version was something that could be easily replicated, but me going a bit deeper in the production created a new and different experience that’s reflective of my internal spirit.
This is the version that I want the public to hear, the others can be heard if i’m spinning or once all my edits are introduced on The Brooklyn Word Radio 2016. I’m working on that, it’s on the back burner as bigger things are happening behind the scenes.
To that I say, dance to my soul my peoples… – Mr. Kuyateh | dat Brooklyn African
PRESS the PLAY button Above: Joy Jones “Over” – Afro Funk Edit prod. by Mr Kuyateh
The original version of “Over” (see above video), is one of those delicious tracks that I could listen to all day.
It was featured on her Album “Godchild” in 2009 and had quite a few bangers. Salute Daz-I-Kue (Bugz in the Attic) for assisting in her musical growth. His musical spirit and attention to sound details is a tribute the fine musicians that were apart of the albums inception.
Now that I think about it, when I saw her at SOB’s awhile back she was with Daz and I believe Mark de Clive Lowe. That same night I fell in love with the ease in which notes fluttered from out of her.
I voice stalked for awhile aka checked other material and followed on Facebook/Twitter. My love of beautiful voices often leaves me in this predicament. I know that out of respect for the art and knowing that i’ll be supporting in the future some how, the trail is like a mental Stickie.
Now let’s get back to “Over”. The approach to process her voice was brilliant. The Daft Punk filter/tuning effect, whether her’s or producer decision, enhanced the potency and story effect of the words.
I know her live voice first hand. Of course the processing wasn’t needed to improve her vocals like other musicians that need that “musical crutch“. It was an experiential improvement. That end result is a beautiful piece of sound that will be eternally vibrating in Universal Space.
Joy Jones’s voice reminds me of a soulful Disney experience, wtf right. It makes sense though think a jazzier Minnie Ripperton, down one register and there you have it.
I swear I feel like I see butterflies and shxt. It’s just so sweet and composed of good energy, I guess that’s what happens when one’s internal spirit is projected sonically.
With that I say, enjoy my remix/edit which is a sexy in the club rhythm. I wanted to keep the vocals in front and have a subtle thump to enhance Joy’s words. The build is smooth and not over powering. Dancing to it can get real sexy when with a partner. If solo, it’s a dope track to get in a zone to… trust this dancer!
UPDATE | “OVER” as a soundtrack to the Korryn Gaines incident
It was around 9am and I peep a story about a young woman named Korryn Gaines who was killed in Baltimore by a SWAT team. Her son was also hit in the chest and all this as a result of a warrant for unpaid tickets.
What was extremely compelling about the situation was that she was live streaming (or recording) the SWAT raid. After she was killed, her public posting of the videos and her social media accounts were deleted. It’s highly suspected that the Baltimore Police dept. did that to keep the national spotlight away from them.
The entire story is not only compelling but touched me deeply. A black child and young woman were shot for ticket infractions. Her confrontational and militant attitude reminds me of me when confronted by the Police. I might be a little smoother than her, but I can recall actions that if I did now, is likely to get me shot.
Korryn Gaine’s remind me of sisters/cousins/friends, she’s feisty and has a low tolerance for the brutality of our people, particularly Police. I get it, as many in the real hood (aka home) would. Today it’s still on the news, tomorrow, it’s in our homes and the following day us on the ground.
Think about that for a minute….
I couldn’t get it out of my head and as i’m reading about her, the “Over” remix is playing. Ironically, the words were almost playing out to the video I was watching. At that moment, I knew what I would do… create a promo video to create awareness of Korryn’s death.
What is the purpose of creating the video?
Well all I can do is use my creative voice to take responsibility for social issue that effect my culture. I know that if left up to the few media outlets that control the airwaves, our cultures message would be lost in confusing truths and interpretations. Facts would be left out, things would be altered and the overall history be deleted like a Facebook post or Tweet.
We are living in a new age, the awakening is here… with that I made this video and plan on extending it. Archiving my own truths to teach without outside influence.
Bless up my peoples and keep that 3rd open! Salute