Paris - Coffee, Donuts & Death (Remix) 1992

The Conscious Daughters - Somethin’ To Ride To (Fonky Expedition) (Remix) 1993

When you google the words ‘Paris,’ ‘producer’ and ‘hip-hop’ or ‘rap,’ an alarming number of links will lead you to announcements concerning Scott Storch producing Paris Hilton. Well, Can I Bring My Gat? is here to provide some counterbalance. Oscar ‘Paris’ Jackson first gained notoriety around 1990, establishing himself (just before MC Hammer and Digital Underground) as the only other national Bay Area representative besides Too $hort. His Tommy Boy-distributed debut, “The Devil Made Me Do It,” was self-produced, a fact that was overshadowed by the outspoken militant, pro-black message from the self-described Black Panther of Hip-Hop. Yet in early 1994 I picked up a record on the strength that it said ‘Produced by Paris’ on the front cover. That record was “Ear To The Street” by female duo The Conscious Daughters, and it could easily be perceived as Paris’ reaction to what Dr. Dre had done on “The Chronic.” One year later he responded to the massively successful g-funk movement with the establishment of his Guerrilla Funk label, along with the more traditionally funked out “Guerrilla Funk” album. Fast forward to 2006 when he teamed up with legendary Public Enemy to produce and even co-write their album “Rebirth Of A Nation,” and we can safely include Paris in the ranks of hip-hop producers, his work behind the boards now spanning twenty years.

Paris’ first currently documented production credit dates back before “The Devil Made Me Do It,” with 1987’s “This Beat Is Def” single by San Francisco rap group ATC, who was even shortly signed to his Scarface label. His rap debut then provided an interesting synthesis of hip-hop beats and more electronic, almost industrial grooves and used less samples than your typical late ’80s release. That unique approach was the expression of P-Dog’s outsider status and DIY attitude on a musical level, resulting in classic militant rap tracks like “Break The Grip Of Shame” and “The Devil Made Me Do It.” 1992’s controversial “Sleeping With The Enemy” gave samples a more prominent place and enlisted the help of a young DJ Shadow on some tracks. In the new millennium Paris is busier than ever, having made a comeback not just as a producer but also as a rapper, executive and activist. His website www.guerrillafunk.com should tell you all you need to know about his music and his mission.

Paris on discogs

The Real Roxanne - Respect 1988

Special Ed - The Bush 1989

Chubb Rock - The Regiments Of Steel 1990

One day, when someone will write a comprehensive history of hip-hop’s musical development, I bet you that sucker’s gonna forget about Howie Tee. On the blog tip, though, we got beat to it as Cold Rock Da Spot recently covered Howard Thompson (pictured above with cousin Chubb Rock making their own damn Grammy’s) exhaustively.

All that’s left for us to say is that Howie Tee is one of the rare hip-hop musicians/producers/DJ’s that successfully made the transition from the early ’80s into the ’90s. Starting in electro outfit CD III, then joining the Full Force camp and having a hand in records by UTFO, The Real Roxanne and last but not least Whistle’s international hit “(Nothing Serious) Just Buggin’” from ‘85 (scratches and co-production), then forming a classic late ’80s/early ’90s duo with Chubb Rock and going on to be involved in the highly successful R&B crossover project Color Me Badd.

Like Hurby Luvbug, Howie Tee has brought a pop sensibility to hip-hop (which in turn lead him to remix pop artists ranking as highly as Madonna), but he’s also been a key figure in the introduction of samples to hip-hop via production. His 1988 album with Chubb Rock, likely largely recorded in 1987, uses samples sparingly, but starting with the Aretha Franklin-influenced “Respect” for The Real Roxanne, he quickly began to explore the possibilites of sampling, resulting in his best work, the second album with Chubb, “And The Winner Is…” and Special Ed’s “Youngest In Charge,” which gave us the definite Flatbush anthem “The Bush.” One year later, in 1990, Chubb and Howie were responsible for one of the dopest hip-hop EP’s of all time, which not only featured the smash “Treat ‘Em Right,” but also the tribute to hip-hop peers and pioneers, “The Regiments Of Steel.” Both tracks were included in the 1991 Chubb Rock album “The One.”

Double XX Posse - Not Gonna Be Able To Do It 1992

MC Thick - The Show Ain’t Over Till The Fatman Swings 1993

Artifacts - Whayback 1994

Kool G Rap - For Da Brothaz 1995

T-Ray. Short for Todd Ray. Once again we find it rather hard to put a face to the name, which changes nothing about the fact that the man has several certified hip-hop classics to his name. If you happen to be in possession of Elemental Magazine #62, you should be able to gather more information than we can provide at this instance. What we can do is gather production credits and provide audio samples. T-Ray had an incredible run from circa 1992 to 1995, and while his name hasn’t appeared on too many major hip-hop albums since, he attempted to establish a label called Beatdown Recordings as recently as 2005, which has put out wax from dead prez, DITC affiliate Milano, Non Phixion’s Ill Bill, and Blaq Poet. The label has even been involved in the release of Cut Chemist’s “The Audience’s Listening” album.

T-Ray first appeared on the rapologist’s radar in 1992. Working with New Jersey’s Double XX Posse, he crafted the seminal “Not Gonna Be Able To Do It,” one of the year’s landmark singles. Along with the previously profiled Wolf & Epic, he was involved in MC Serch’s solo, where he produced 5 tracks, including “Back To The Grill,”, as well as the remix that featured O.C. alongside album/single guests Red Hot Lover Tone, Nasty Nas and Chubb Rock. The Serch connection also resulted in production for female gangsta rapper Boss.

Also in 1992 T-Ray remixed the Funky Man’s “Party Over Here” and “Yes You May,” which introduced the world to a certain Big L, who was also on the original version of Finesse’s “You Know What I’m About,” both of which can be found on the Fat Beats release “From The Crates To The Files.” One of T-Ray’s key links in the game was Big Beat Records, which enabled him to produce songs for the Artifacts, Double XX Posse, Down South, and others. Discogs even lists him as a Soul Assassins member, but it is unclear which period that approximately refers to. Fact is, he worked with Funkdoobiest, Cypress Hill, and House of Pain. His remixing clients include Fishbone and Luscious Jackson.

In its Book of Rap Lists, ego trip - only recently obsessed with (White) Rappers - outed T-Ray as a member of the Polygram-sponsored White Boys, apparently a trio from South Carolina that entertained the idea of becoming rap stars by way of Queens, NY. There’s a 66.6 percent chance that T-Ray originally was a rapper, in which case he would have either gone by the name of Exact or Precise. It would be unfair to hold his membership in the White Boys (if it’s fact) against him (everybody gotta start somewhere, just ask The Alchemist), much more intriguing is that somewhere between 1988 and 1992 Todd Ray modeled himself into an incredibly talented hip-hop producer.

How do you go from being in a gimmick rap group with no future to producing tracks for Lord Finesse, Percee P, and Kool G Rap? Ask T-Ray. During his arguably most productive year, 1993, he also assisted Louisiana’s MC Thick in his debut “The Show Ain’t Over Till The Fatman Swings.” The title track enwraps segments of familiar breakbeats in a strong, booming rhythm section. He might have also been involved in a shelved Fatal (of “Live At The BBQ” fame) album from around that time. Another ‘93 credit is the Helmet/House of Pain collaboration on the rock-meets-rap experiment known as the “Judgement Night” soundtrack, which lead him to co-produce the alternative metal band’s Interscope album “Betty,” which was free from crossover attempts. After that, he’s probably more done more rock gigs, which might explain the decline of his hip-hop output. Either way, his rock expertise was called upon by Non Phixion in 2002, when they recorded a rock version of “The CIA Is Trying To Kill Me” featuring Deftones and Fear Factory members.

Often working with engineer/musician Anton Pushansky, T-Ray took a no-holds barred approach to programming. His beats are in an unwavering forward motion, showing a strong inclination towards booming drums. As his productions become more layered from the Serch solo to the first Artifacts album, they only lowered their boom (to use Artifacts lingo). Even beats for less dead serious acts like Biz Markie (”I’m Singin’”) and Funkdoobiest (”I’m Shittin’ On ‘Em,” “Wopbabalubop”) are sure to leave your ears ringing. Let’s just say Beatdown Productions was a fairly fitting production company name. Our last selection gives us a glimpse of T-Ray’s sensitive side with Kool G Rap’s “For Da Brothaz” from 1995, which contrasts beautifully with his other beat on “4, 5, 6,” the murderously minimal “Take ‘Em To War.”

T-Ray on discogs