The true heads know about Banks, forever bad ass and contributing beats to murderer’s row of classic 90s projects. Except Banks came first, selling hundreds of thousands of tapes on the Oakland streets since the mid-80s and helping to create the Bay’s breed of lead poisoned funk. After all, the two piggybacked on the biggest figures of their respective region (Dre, Too Short), rapped and produced, and ended up getting overshadowed by the more famous figures in their extended crews. You can probably brand Ant Banks the Daz of the Bay, but the truth is that Daz is really the Ant Banks of Southern California. Witness Spice 1’s “Trigga Gots No Heart” for some of Ski’s best work. Ski will always be remembered for his collaborations with Spice 1, particularly on the stormy 187 He Wrote, but this progenitor of bay area hip-hop worked far and wide, cutting records with Too Short, Ice T, Ice Cube, Dre himself and of course getting involved in an ill-fated association with Master P. Often referred to as the “Dre of the Bay”, Oakland’s E-A-Ski never rose to the same commercial heights as the West Coast’s most iconic producer, but nevertheless shares the good doctor’s proclivity for balancing intricate layering with massive, popping beats. But how can you blame him? The man needs his time to pimp. Sure, as his career progressed, he inevitably has gotten behind the boards less and less. He pioneered the sleazy Bay synthesizer line and knew to rap over a Roland as though he did the design. The man born to mack knew about more than just running game. He was custom making beats before Melle Melle looked like the Michelin Man. After all, Short Dog is still doing it almost 30 years after Don’t Stop Rapping.
I’m pretty sure those studio sessions passed in a haze of women, chronic, and the occasional break to watch Dolemite on Betamax.īut for the purposes of debate, let’s give Short credit where it’s due.
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And in some way, most of them might be right. I’m sure if you ask Dean Hodges, Ted Bohanon and Todd Shaw who produced what on the early Too Short records you’d get three different answers. His distaste for contracts means he isn’t always credited where he should be, but you can thank him for the drums and “huh!” on “Let The Rhythm Hit ‘Em” and the splice of James Brown and the Honeydrippers on Superlover Cee & Cassanova Rud’s “Do The James.” Paul was murdered right before rap’s most storied decade began and thus doesn’t have the same cult of fandom as a J Dilla, but his legacy lives on in the music of the golden age that was yet to come. He produced Organized Konfusion’s demo and shaped the sound of Ultramagnetic’s Critical Beatdown.
#Eightball mjg space age pimpin pro#
The man who taught Large Pro was a Jamaica, Queens phenom named Paul C who wouldn’t live to see the breadth of his influence. Large Professor schooled all of New York’s legendary producers in the use of samplers. Paul C Paul C is to hip-hop as Leif Ericson is to discovering America. Not only was Organized Noize taking notes, but so was everyone else. Premro Smith and Marlon Goodman’s name are on those records and even if they weren’t the one digging in the crates, they deserve credit for being among the first to link H-Town, Memphis, Western G-funk and their own extraterrestrial bent. T-Mix is listed regularly and Tony Draper has stolen enough credit for ten Sylvia Robinson’s, but he was in Houston and nothing sounds more Memphis than the alluvial slow-rolling funk that rattled out Ball & MJG’s backwoods Beale Street universe. Suave House isn’t exactly known for its meticulous accounting, so it’s unclear who made what on 8Ball & MJG’s first three (classic) records. MP3: Sugarhill Gang – “Apache (Jump On It)” MP3: Grandmaster Flash & The Furious Five – “The Message” However, his style wasn’t limited just to original composition, his co-writing credit on The Sugarhill Gang’s “Apache (Jump On It)” was also pioneering in bringing one of the culture’s most famous drum breaks to the masses. A jazz funk organ player, Jiggs moved the music away from the acoustic and towards the electronic along with Bambaataa and Herbie Hancock his powerful synth stabs on “The Message” are the decisive component of the song’s urban groove. Often left out of the shuffle when considering hip hop’s early production pioneers, Jiggs was enlisted by Sylvia Robinson to be Sugar Hill’s in-house arranger and producer and ultimately create of some of the first rap production to reach a truly expansive audience. The Greatest Producers of All-Time: Honorable Mentions, Part II The Greatest Producers of All-Time: Honorable Mentions, Part I
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