Gregory D - Crack Slangas 1992

Gregory D - 10 Years 1992

Mack 10 - Do The Damn Thing 2001

Slim Thug f/ Young Jeezy and Boyz in Blue - Diamond remix 2005

Old Mannie Fresh on the Gregory D ish. Newer and straight new Mannie on the other two.

“10 Years” and “Crack Slangas” are all gloomy breaks, soundin like something uneventful in New York around 1992. On “Crack Slangas,” Greg refuses to apologize for hustlin and for rappin about hustlin. On “10 Years,” he reminds his boys on trial that no girl is gonna be there waiting when they get out. “10 Years” takes the format of a call-in radio show, with interludes of girls callin in saying hell no, no way they’re waitin 10 years for their man to get out of prison. I never would’ve even picked up the record if it weren’t for Greg rocking a black skully with “crack slanga” stitched across the front.

Flash forward about 10 years (ironically) to 2001. Cash Money Records inexplicably signs Mack 10. He shows no gratitude, rocking berets in the video for his single and biting the flow on “Get Your Roll On.” Either way, “Do the Damn Thing” was hot and I couldn’t stop listening to this dumb ass joint for about two months. Mannie’s beat is sort of unconventional, lacking the frantic hi-hats that made the 504 famous and playing up the electronic toms that are featured so prominantly in his most recent shit.

On the Gregory D record, Mannie gets to talkin a lil shit. He hadn’t hit his stride yet in terms of runnin off at the mouth on track, but you can hear the potential. Many years later, we have some ad lib brillance on the “Diamond” remix. Not to slight Slim, Jeezy or the Boyz in Blue, but I think Mannie saying “you’re alright with me” is the highlight here.

Arhythmatik - Mind & Heart (Instrumental) 2005

Arhythmatik - Polynomials (Instrumental) 2005

Arhythmatik - Polynomials 2005

What makes a good hip-hop beat? Is it the drums? Is it the bass? Is it the way a sample is flipped? Is it the fact that it can exist without a sample? Is it complexity? Simplicity? To each his own, obviously. Not to mention that there are different beats for different occasions. Rappers probably look for beats that compliment their style, the same may apply to dancers. As someone who’s often just a passive consumer of hip-hop music, I’ve found that I prefer beats that come to life. Beats that tell a story. Beats that conjure up a mood. Beats that radiate energy. Beats colorful like characters in a cartoon. Beats that I recognize easily. Like yesterday, when I wound up standing next to some kid bumping “Still D.R.E.” on his credit-card-shaped MP3 player. I enjoyed only a fraction of his listening experience, but my head still began to nod in approval of Dre’s beat, escaping faintly from the kid’s headphones, but echoing strongly in my memory.

Beats that hold that special breath of life are produced every day. A few find a rapper’s approval. Fewer still find a record company’s approval. Fewer still find a radio station’s approval. The more people are involved in the process, the less likely a beat is to reach the masses. The beats we display today were fortunate enough to be picked and released by their creator - Arhythmatik, a rapper/producer from Phoenix, who’s also involved in local rap label Modurn Languaj Asosiashun.

His debut EP “Pre-Algebra” came out earlier this year, and while I give him credit for his raps, hearing some of the instrumental versions is an entirely different experience. (Too bad they weren’t included on the EP.) “Mind & Heart” is of epic proportions, combining fanfare-like horns, that ol’ ’80s boom and James Brown-like primal screams. “Polynomials” on the other hand is festive true school hip-hop, fully energized by Pickster One cutting up Roxanne Shanté for the hook. To give you an idea of Arhythmatik’s mic skills, “Polynomials” is also featured with the vocals.

Artist website: www.arhythmatik.com

Sadat X - The Lump Lump (Nubian Mix Feat Grand Puba & Lord Jamar) 1996

Lace Da Booms - Cut That Weak Shit (Buckwild Mix Feat Royal Flush & Quasi Modo) 1996

Organized Konfusion - Bring It On (The Lost Remix Feat The Ill Rahlos) 199?

Not many crews can claim two great producers. Diggin In The Crates have four fully fledged beatmaking legends in one little eight man click. Three of those four producers have done their fair share of rapping over the years (Lord Finesse is a master in both fields), but the fourth man has made beats, simple and plain, for more than a decade without touching a microphone. Perhaps because of this low profile, Buckwild has never go the kind of props that Diamond D and Showbiz get from the thinking Hiphop press.
In my opinion Buckwild has long been both the most reliable AND the most diverse member of the crew when it comes to knocking out a tune. Anyone listening in the early 90s can tell you what a Diamond D track sounds like or what a typical Lord Finessebeat will do, but can you really tell me OC’s classic “Times Up” shares much sonically with Black Rob’s “Woah”? Like LL says, Idon’thinkso. And he’s still doing it! If there is one thing that unites many (not all) Buck produced tracks it’s the space. Rarely does he fill a track up to the brim with layered samples when a fresh loop and hard beat will do the job. It’s this economy that unites the above tracks.

The great Sadat X chose a Buckwild track to launch his solo career, and what a track it is. The beat is very simple, but it’s a perfect bed for Sadat’s rhymes and on the 12″ you get the rest of Brand Nubian reunited for the first time in years on the “Nubian Mix”. Grand Puba was clearly inspired by being back alongside the other two because he kicks his best verse in years. Less famous but just as stately in it’s boom bappiness is Lace Da Booms‘ 1996 indie banger “Cut That Weak Shit”. The original version is good but Guesswhyld Records got Buckwild for this infinitely superior remix featuring Quasi Modo (?) and rap’s Mike Tyson; Royal Flush. The KRS hook takes on a more threatening tone over Buck’s low key, bass-led track.

Pretty well known despite it’s “Lost Remix” title, Buckwild’s remix of Organized Konfusion’s party-piece “Bring It On” is a proper remix of the kind we don’t see too often these days save from R. Kelly. Pharoahe and Po went back and re-recorded their vocals with even more voicebox gymnastics thrown in and authentic shouty crew backing from the Ill Rahlos. The beat is the most hooded and booted, murky, late-night number in Buckwild’s career, with great breakdown and drop-outs to accentuate the microphone bananasness of OK. “Brai-ai-ai-ain luh-luh-luh-loik pot-er-y… ALLOVER THE TRACK”.

The fact that he never got stuck with one style is probably the reason Buckwild still gets work from big name acts AND the underground while the impact of the other D.I.T.C. producers is felt less and less. I want to know what happened to him having a beat on “The Black Album”…

I say this about everyone I talk about on GAT but Buckwild should be considered one of the greatest producers of all time. Unlike some producers who consider their beats the star of the show he seems to find the perfect beat to complement each rapper and always leaves the emcee ample room to shine. Respect is due.

Oh yeah, did I mention that he produced Biggie’s “I Got A Story Tell” which is a definite candidate for my favourite Hiphop track of all time? Well he did, and it’s out of sight…

Buckwild Discogs credits | Buckwild @ the D.I.T.C. HQ

IN OTHER GAT NEWS
K-Def has finally launched his official site. It’s a fan’s dream with videos for Real Live, LOTUG and Da Youngstas videos, a discography with full audio clips and streaming, never before heard beats. Excellent design that really works (!!!), oh and I wrote the intro, balang!