Keak Da Sneak - 3 Freaks ft. Turf Talk DJ Shadow??
Brian
7,618 Posts
I'm really unsure how I feel about this song, but it's Keak Da Sneak featuring Turf Talk and apparently it's produced by DJ Shadow (I'm sure faux will love it.)http://s54.yousendit.com/d.aspx?id=1AVFMMLHRD65O20ZL5G84F4LX7
Comments
The Slikk The Shoker remix on Funky Skunk is good tho, it sounds like he might have made that remix himself. I doubt any other dude into south likes those kinda drums? Diplo maybe? But the production didnt really sound like him. Could be a blend I guess, but that beat still sounds like Shadow.
i know shadow's from the bay and all, and i'm sure he'd be quick to tell you that he's been listening to too short since the day he was born but i mean, he wasn't exactly doing songs with jt in '96. i know people will be like "you don't know josh he has more booty bass records than you and put triple six on that mix cd", but as far as i know he was not touching that shit with a ten foot pole when he came out. not mentioning it interviews, not dropping it on mix tapes, not sampling it on his albums. maybe he was a closet fan at the time, i don't know, but i think it's no coincidence that his visible interest in this sort of thing has raised considerably in the wake of both the rise of popularity of bay rap and the rise of diplos and faders of the world making it acceptible/appropriate to like hood shit from an outsider white boy perspective.
that said, i didn't really like this cut at first but it's starting to grow on me.
You're joking, right?
Oliver
why? you don't think this record is a dramatic and conscious departure from everything shadow's ever done?
i have a feeling if he were to do this sort of thing eight years ago, you would be one of the first to scream foul, oliver.
And you'd be wrong, my friend. There's nothing remotely surprising about this if you know anything about Shadow besides his Endtroducing/Private Press/Brainfreeze output. I mean, one of his first label-based productions was for the Lifer's Group, you know? He's got one of the illest gangsta rap collections in existance and if you listen to his recent mixtapes (as well as his early Reconstruction stuff) it's completely within the realm of his tastes to do something like this. I'm just surprised it took this long to happen.
The idea that he's carpet-bagging - I can see that from an outside perspective - but really, this isn't a huge surprise at all. Now, if Shadow had worked with Gwen Stefani? That shit would have surprised me.
Thank you
Hate it or love it, it's different.
Regarding his love of Southern/Yay styles, the article below is from 1997. The Cash Money Millionaires stuff was just making it big. Yes, Diplo and Fader weren't around to "popularize" the movement yet. Crunk and Hyphy "yay" styles as we know it didn't exist yet. Lil Jon and his ???Get Crunk, Who You Wit??? in 1995/6 was still a bass "proto-crunk" footnote at that point.
"
What Miami Bass Means to Us
Grand Royal, Issue 05
Written "off the dome" on the plane to Florida, by DJ Shadow
In this case, "Us" refers to the West Coast Hip-Hop scene as a whole.
Bass music had always been big in the West. As hip-hop moved from the east to the westward states, like some kind of musical manifest destiny, the influences and cultural peculiarities of infected regions set the stage for a whole generation of what I like to call "hip-hop bastards." Most of us in Seattle, Bay Area, L.A., Phoenix, etc..., experienced all different types of hip-hop growing up. Records like "Planet Rock" (the genesis of modern bass music), "Clear" by Cybotron, and "Jam the Box" by Pretty Tony, occupied the same mix tapes that exposed New York's finest. KDAY played it, KSOL played it, KFOX was on it too. DJs that were breaking "Planet Rock" spin-offs eventually began to dabble in the studio. KFOX's Sir Mix-a-Lot Ray (as he was called then) busted out with "Squaredance Rap" and produced other Shannon-esque female uptempo records. DJ Unknown and, later, Battlecat, would form pseudonyms like the "X-men" and up the tempo even higher. Even Sway and Tech busted out with one of the dopest bass jams of the time (late 86's), "We Want To Rock You." But undoubtedly the chief ambassadors of Electro Bass-Funk was Uncle Jam's Army. Their freaky tales (and parties) inspired a whole generation of bass enthusiasts and spawned the man most directly responsible for the sensation to come: The Egyptian Lover. His Egyptian Empire introduced the world to Jamie Jupiter (the man himself is an alias) and of course, Rodney O. Meanwhile, The World Class Wreckin' Cru (of course, featuring Doctor Dre) and the Knights Of The Turntables were doing their thing too.
Sac Town busted out with "Scratch Motion", and Too Short was honing his craft on "99 Girls." Meanwhile, Just-Ice's Mantronik-produced and bass heavy Back to the Old School LP was selling more copies in San Francisco than in the rest of the West Coast combined. In other words, the bass-wave was spreading.
But what, you say, does this have to do with Miami? The South's obsession with bass can be traced, according to a hypothesis by my man Cut Chemist, to not only "Planet Rock" but also a Roxanne Shante party in '84 when Marley Marl busted out the 808 to an unsuspecting crowd. Whether or not this is indeed the case, by '85 the volume of independent records indicated a tremendously strong regional scene. For me, it all jumped off in a major way with "Throw the Dick" by 2 Live Crew, I remember buying all that 12" the same day I bought "South Bronx" by B.D.P. and I actually was feeling 2 Live more. Within the grooves on that mysterious gray label were the sounds that to this day epitomize the best of Miami Bass: top notch, outraged scratching; expert programming; and earthquake bass. (2 Live had, of course already represented from the West on "Revelation" and "What I Like", a true classic.) "Throw the Dick" set it off nationwide for 2 Live and their newest group member, one Luther Campbell. Concurrently, another label with a huge stable of talent emerged: 4 Sight Records. Early releases include "Bass Rock Express" by MC A.D.E., a dope reworking of Kraftwerk's "Trans-Europe Express," like "Planet Rock." 4 Sight also signed Riverside's own Byron Davis and the Fresh Krew, who released two albums and a bonafide classic: "Now Dance." Not to be outdone, and aware of their strong grip on the west, Skyywalker picked up MC Twist out of San Jose. Skyywalker also released one of the classic Miami Bass albums of all time: MC Shy D's, I've Gotta Be Tough, featuring the Ghetto-Style techniques of DJ MANN later hooked up with Le Juan Love for a decent LP with above average beats.
Others began to enter the fray in a major way. Beatmaster Clay D busted out several indie singles, including the classic "Boot the Booty" before delivering his debut LP, You be You And I Be Me. Back in the West, Kool Rock Jay and DJ Slice busted out with "Slice it Up" and DJ Battery Brain hit us with "808 Volt Megamix." And in '89, Afro- Rican took Miami Bass to the national charts with "Just Let it Go," the undisputed summer party jam of the year until Young MC knocked 'em off with "Bust A Move." Afro-Rican really set it off for Miami Bass and a slew of imitators set in to claim bank. But by the early '90's, only one name reigned in the bass game: DJ Magic Mike and he made ALL the money. Then Tag Team, 69 Boyz, etc. etc...
I've got to wrap this up now 'cause my flight to Ft. Lauderdale is leaving. (I'm on a beat-mission). But we should appreciate Miami Bass as a very important and legitimate form of hip-hop that has always given a lot to us here in the West (and all over the world). Now here's 10 of my favorites to check out. Even if you weren't there at the time, you should still check these out and pay your respects to the genius of Miami Bass:
1. "Throw the D" by 2 Live Crew
2. "Boot the Booty" by Mc Cool Rock and Chezy Chess
3. "Gotta Be Tough" by MC Shy D
4. "Just Give the DJ A Break" by Dynamix II
5. "Now Dance" by Byron Davis and the Fresh Krew
6. "What I Like" by 2 Live Crew
7. "Roll It Up" by Success In 'Effect
8. "Ghetto Bass" by 2 Live Crew
9. "Bass Rock Express" by MC A.D.E.
10. "He is DJ Crash" by Gigolo Tony"
i know he's your pal and all, but come on now.
weird hook on this one, but it's stayin' on my harddrive.
Please dont backhand slap me too hard noz.
I'm not saying if Lifer's Group is good or not, I'm just pointing out that Shadow + Yay rappers or gangsta rappers writ large = not that nutty as you'd put out there. Simple as that. You can keep pushing the carpetbagger line if you want, but like I said, you'd be wrong.
To be honest, exactly how big is the "hyphy bay rap" bandwagon? We're exposed to it through the blogosphere, this board, and some music critics but I would argue this movement is just as underground as "bay hip hop" is/was.
Actually "bay hip hop" has been heard on Coke commercials so go figure.
Does bay hip hop = bay hyphy rap?
Seriously people, we are missing Archaic bad right now and I'm not even kidding.
UNBAN!
mark i read that article the last time you posted it. i still fail to see what booty bass has to do with bay area rap.
Hip-hopBooty bass started in the West!go to the bay and ask that question.
just because you only read about it on blogs doesn't mean that it only exists on blogs. this shit is the pop music out there.
You brought up his "newfound" affinity for southern stuff and yay stuff. Sayin.
Right, contained to the bay, right? How can you argue bay rap is more "mainstream" than "underground" producer DJ Shadow? Sayin. I am gonna shut my mouth now cos I'm trying to make observations and get the facts/dates straight.
Get your popcorn ready!
Okay, I feel you bro. No ayo.