Aug 27

K.Flay Has the Solution For Making Music That Lasts

by in Interviews

K.Flay (née Khristine Meredith Flaherty) is a singer, songwriter, rapper, multi-instrumentalist, and producer who got her start making music in her dorm room at Stanford University. Fed up with the misogyny in rap, she grabbed a mic, laid down some tracks on her computer and dropped the (now extremely hard to get your hands on) mixtape Suburban Rap Queen. Four mixtapes, two EPS, two full-length albums, and two Grammy noms later, she’s back with her third full-length release, Solutions, fusing pop, rock, hip-hop and electronic sounds.

“I’ve mostly created in my parents’ basement,” says the 33-year-old K.Flay about her preference of making music in unpretentious environments, like the modest subterranean floor of her parents’ Brooklyn and then Bay Area homes—also her obvious comfort zone. “It’s definitely not a professional environment in any way, (but), I wrote, recorded and produced everything down there.”

It’s no coincidence that, when working on her latest effort, Solutions, released by Night Street/Interscope Records on July 12, K.Flay made sure her recording spaces, albeit not her beloved basement, were appropriately comfy. She recorded part of it in Nashville, at a studio a friend built on his countryside property and the rest in Los Angeles, at producer Tommy English’s back house/studio. 

“These studios are embedded in home environments, where there is a lack of pretentiousness,” says the Illinois native. “Everyone is different and everyone wants different things out of their creative environment. For me, what I aim to do is figure out how I can approximate the safety of my parents’ basement but add the creativeness and expertise of talented producers.”

From the sounds of Solutions, and the accolades it has received from music critics, it appears K.Flay’s modus operandi has worked. She “starts her third studio CD with the wonderfully autobiographical statement song “I Like Myself (Most of the Time)” and ends with a wistful tune about her father, “DNA,” wrote the Chicago Tribune. “In between, we get to celebrate all the gloriously different sides of an artist who resists getting boxed up in one genre,” writes The Guardian. The first single off her latest release, “Bad Vibes,” backed by a pop-rock, hip-hop sound, is a song about learning to let go of the negative things in your life.

Melodics Magazine caught up with K. Flay, right before she headed off on her “The Solutions Tour,” to learn about her journey to making her newest album. We dug into her artistic process, how necessity drove her to make her own beats and why she values collaboration. She also talks about what fans can expect from her soon-to-be-released microcast.

Melodics Magazine: You kind of stumbled upon music. For our readers that don’t know, how did you begin your career?

K. Flay: Initially, it was sort of, goofing off. By the time I got to college, I was listening to stuff like the Beach Boys, the Talking Heads, the Beatles, that kind of stuff. And then, whatever was on the radio. But, I hadn’t consumed independent music, and then I was confronted with all of that. I was like, this is f**** up. I’m 18, 19-years-old, and I think I know everything. I got into an argument with someone at my dorm and was like, “Why is this on the radio? I could write something like this.” And his response was: you’ve never even written a song.

MM: How’d that first songwriting session turn out?

KF: I’ve always enjoyed crossword puzzles. Songwriting, in many ways, is kind of like word puzzles–there was something about that process that clicked with me right away.

MM: At what point did you become emotionally invested in music?

KF: I think it was my junior year of college. The agenda started to become, “Oh, this isn’t just a song, there is an element of self-discovery that I am getting in touch with.” And, that felt very exciting for me.

MM: You are a singer and a songwriter, but you are also a producer. How did you learn to make beats?

KF: At the beginning, I was self-contained. I produced, made my beats, sang, all out of necessity. I didn’t know people who could do it for me and, necessity is always a great instigator. All of my production stuff was self-taught, from watching YouTube tutorials and then meeting people on campus, where there was a very small recording studio for the engineering program there. 

A good friend in college was in that program and he was the first person to show me Pro Tools. I learned what I know through trial and error. Sometimes, I watch sessions by trained engineers and they absolutely shred it. I’m not quite as good, but, I have a pretty good system.

MM: Three albums later, has your process for creating music changed at all?

KF: For me, the shift was really in the last two records, and it was finding producers that I could really become creative partners with. When I was producing my own stuff… there were elements of that process that I enjoyed. But it wasn’t the primary thing I enjoyed about making music.

MM: How does the collaborative process usually work for you?

KF: In the last record, every song was recorded in an apartment or a house. I think there is something to that. Everyone is different, everyone wants different things out of their creative environment. For me, what I aim to do is figure out how I can approximate the safety of my parents’ basement but add the creativeness and expertise of talented producers. I was initially hesitant to collaborate in a certain way. My thought was, I do my own stuff, I am a one-woman entity. But, I think, collaboration is incredibly powerful and, good things can happen.

MM: Would you collaborate behind-the-scenes with other artists?

KF: I’m starting to see in my creative life, that I can do more writing with other artists on their records. I’m starting to understand my role, not just as an artist, but how I can be part of the support staff. And, I love it, honestly. I’ve been enjoying it so much. When it’s done, and when you do it well, it is really just about making space for somebody to be unabashedly honest and creative.

Photo Credit: Koury Angelo
Photo Credit: Koury Angelo

MM: There aren’t many female producers, especially not in hip-hop. Do you consider yourself a role model?

KF: What’s interesting is I haven’t worked with many female producers. I do understand there is an element of my experience and what I do that, for young women, especially young women starting in music, that can be slightly role-model-ish. I do see the importance in that as far as looking out into the world and looking for representation. 

MM: How did you find your sound for Solutions?

KF: The initial inspiration point was LCD Soundsystem’s record This is Happening. It felt like very excellent lyricism along with those kind of drum machine sounds. That felt compelling to me. I certainly do not think Solutions is anything like that record. But spiritually, that was the first thing – the first song on the record, the synthesizer, that was an LCD-inspired synth. And, there is more synthesizer presence on this album.

MM: What else inspired you on this album?

KF: The other kind of inspiration was tempo in a lot of ways. Most of the songs have a fluid tempo to them. There is one ballad on the record, but I wanted the songs to feel like uptempo, I guess. On the last record, there were lots of moments of intentional darkness. That is not the place I am at and not what I wanted to put out into the world right now. [Editor’s Note: K. Flay dates musician Miya Folick and has been open about being in a dark place before their relationship.]

MM: Let’s break down two of your tracks on Solutions—”Sister” and “This Baby Don’t Cry.” On “Sister” you worked with Joel Little, who worked with Taylor Swift and Lorde and on “This Baby Don’t Cry,” you worked with Dan Reynolds from Imagine Dragons and Tommy English, who worked with you on your last Grammy-nominated album. When you made those songs, were you guys working all in digital or was it analog? 

KF: On “Sister,” the guitar is analog, and some of the synthesizers are as well—we used a live prophet on that track. 

On “This Baby Don’t Cry,” I’m pretty sure the whole song is analog instruments. I played bass, Tommy played guitar, the claps and the drums are live samples. Honestly, at first, I found the rhythm of the clapping pattern to be slightly brain-melting. It took me like a full five minutes to get it fully implanted in my brain  

MM: What’s your preference—drum pads or real drums? 

KF: On “Sister,” the drums were programmed. On “This Baby Don’t Cry,” we used live drum samples and Tommy and I sampled the hand-clapping for that song as well.

MM: What were Dan Reynolds’ contributions to “This Baby Don’t Cry?”

KF: Dan had the initial idea to make it a punky, riff-driven song. I was almost at the end of the album writing process, and that felt like a spirit and a vibe I was missing. He played that riff on bass and right away I started writing lyrics.

MM: Overall the track has a very 80s feel to it, what was the inspiration behind that?

KF: The inspiration for the track was really just to keep it as basic but as impactful as possible. How do we use the fewest number of instruments but still make the song feel huge? We went through a few different versions of the song—all of which contained more sonic and melodic elements than the version you hear today. But we ended up feeling like the best version was the simplest. That felt like the brave move. To strip layers away.

MM: Just as your tour approaches, you launched your own microcast, “What Am I Doing Here,” which is a shorter form podcast. Tell us more.

There are millions of Alexa and Google Homes in the world right now, and no one is creating content for that medium. For me, what’s exciting about making anything is when there are no rules. This is a similar situation. I love produced content like podcasts and radio. This is kind of the new frontier in that world because no one has really explored it. What I want to do and the premise of the show is, I’m often not home, so, how can I bring that experience of where I am and what I am doing here into someone’s home space? That is really exciting for me and really the inspiration for it.

Aug 22

What’s in a Standard Drumset?

by in Fundamentals, Gear

History of the Drum set

The drum set (aka the drum kit or trap set) as we know it came to be in the United States in the early 1900s for vaudeville shows. The fact that the trap set could be played with all four limbs made it extremely popular and it rapidly became a fixture in American music and spread to popular music from all over the world. 

The drum kit’s United States’ origins is why drum sizes (diameter of the heads and cymbals, and depth of the shells) are listed in inches even though most countries don’t use American units of measurement.

The Sounds!

A basic drum set is a collection of percussive instruments: typically a snare drum, one or two rack toms, a floor tom, kick drum, hi-hat, and a cymbal or two. Unlike many instruments, the drum set can fill out the entire range of human hearing, from the deepest lows to the highest highs. 

Snare drum

The snare drum sits squarely in the middle of the standard drum set. Its diameter is typically 14 inches, and it is often around six inches deep (shallower than the other drums). The top head (or skin) of the drum is called the batter head (it’s the one you hit!) and the bottom head is called the resonant head (the sound reverberates off of it!) – this is true of all drums in the kit. But what gives the snare it’s signature sound is a group of metal wires called “snares” stretched across the resonant head of the drum. These snare wires can be tightened, loosened, or bypassed completely to change the sound of the drum with the “snare strainer” or “thrower,” which is a mechanical device on the side of the drum that holds the snares in place.

@sunhouseinc

The snare sound occupies the middle frequency range of the drum set and often functions the same as a clap (generally people clap along with snare drum part of a groove).

The snare drum developed as a means to communicate military commands across a battlefield and while marching – so they were designed to have a sound that cuts through a noisy atmosphere and across long distances. Because this function also works perfectly for cutting through a mix of instruments, the snare has been repurposed into all kinds of modern music, and often provides the backbeat (clap-along part). 


Dylan Wissing demonstrates classic snare drums from throughout the last 100 years.

Kick drum

The kick drum (aka bass drum) is the lowest sounding drum of the kit and is also the lowest positioned drum. It sits on the floor in front of you and is played with your right foot (on a righty-drum set). A mallet attached to a pedal strikes the batter head of the drum. The diameter of the drum is around 20 inches and the depth ranges from around 14 to 20 inches. 
The kick sound provides a low thump that people can tap their feet to. In many grooves the kick drum locks in with the bass guitar or bass synth, accenting the important notes that they play. 


The late great John Blackwell’s legendary bass drum techniques.

Toms

It is often up to you as to how many toms you want in your kit. A standard pop drum kit has at least one rack tom and a floor tom, however it’s not uncommon to have more of both. The rack toms are often mounted on top of the kick drum, but sometimes they are mounted on cymbal stands or placed on stands of their own. On kits that only have one rack tom, it is normally positioned above and behind the snare drum so that you can easily hit it with both sticks. Rack toms are generally 12 or 13 inches in diameter and at least 6 inches deep. 

The floor tom has leg attachments so that it sits on the floor to your right. It’s normally 14 to 16 inches in diameter and about 14 inches deep. 

The toms are used in heavier grooves and fills because they have a deep sound, occupying the low to high mid-range. 


Phill Collins’ epic Tom Fill in “In the Air Tonight”

Hi-Hat

The hi-hat is a fascinating instrument with a huge range of sound.. It is two small cymbals (often 14 inches each) mounted on a stand with a pedal that allows you to control the top cymbal with your left foot. You can smack the top cymbal into the bottom cymbal in a variety of ways to produce a range of sounds: from splashy to crisp. And then you can also play it with your stick, tightening the hats with more or less pressure on the pedal for different articulations.

The hi-hat is positioned to the left of the snare drum (often close enough so that it floats over the left half of the snare drum). Its sonic range occupies the high frequencies of the kit and is frequently used to “keep time,” (that means play a steady pattern).


Bernard Purdie demonstrating a tight hi-hat groove with some open hi-hats thrown in.

Cymbals

A standard drum set usually has a ride cymbal and/or crash cymbal.  Both the crash and ride cymbals are similar in size (around 20 inches in diameter), but the ride cymbal is thicker and designed to have a nice “ping” sound when struck with the tip of the stick. Like the hi-hat, the ride cymbal is often used to keep time. This is where the ride cymbal gets its name: you “ride” on it to keep time.

The crash cymbal is most often used for a special kind of accent called a “crash.” You crash a cymbal by striking it on its edge with the shoulder of your stick, often hard. The crash cymbal is designed with crashing in mind, and typically has a rich and heavy attack with a high-frequency, long shimmery decay. 

You can crash a ride cymbal and ride a crash cymbal, but a heavy ride cymbal has a slower attack and more wobbly decay when crashed, and a light crash cymbal has a more washy, less articulate attack when struck with the stick tip like a ride. There is a cymbal type called Crash-Ride, which is on the spectrum in between the two cymbal types.

The crash cymbal is typically suspended on a stand above the left side of the kit, hovering above the rack tom, or above and between the hi-hat and rack tom. The ride cymbal is usually positioned lower on its stand on the right side of the kit, and floats between the rack tom/s and floor tom.

If you have more than two cymbals, it’s pretty common to place them at different height levels and positions around the kit: experiment and find the places that feel most natural!  


Dan Mayo surrounded by interesting cymbals

Extras

One of the many ways a drummer can develop a unique voice behind the kit is by adding different percussive instruments to their kit. Shakers, side-snares, electronics, mounted bongos, are just a few instruments that can be used to expand the sound of your kit. 

Recent Advancements

Advancements in technology throughout the 100+ year existence of the drum set have expanded the range and role of the instrument.

Sunhouse is a recent technological advancement that has given drummers a voice in electronic music by translating the acoustic sound of the drums into a powerful digital controller, and allowing them to use their skills on the drums to produce music for modern pop genres.

To learn more about drums, check out our beginners guide to drums.

Ready to learn a new groove? Try Melodics for Electronic-Drums today.

Aug 19

Patterns of Rhythm: Trapetón (Latin Trap)

by in Music

If you’ve ever bobbed your head or wiggled your hips to the remix of Post Malone’s “Rockstar featuring Ozuna or Farruko’s “Krippy Krush (Remix)” featuring Nicki Minaj, 21 Savage and Travis Scott, then you, my dear friend, have been hit by Trapeton (aka Latin Trap aka Trap en Español) fever. This latest international pop music craze—blending elements of Reggaeton, hip-hop and even its kissing cousin, Afrobeat—is blowing up all over streaming, especially YouTube and Spotify.

At its core, Latin Trap, as it’s most widely known in English-speaking countries, is what happens when you fuse Reggaetón with Trap music. On one side of the equation you have Reggaetón, a blend of Caribbean dancehall, Latin rhythms and hip-hop, while on the other end you have Trap music, a form of hip-hop that originated in the American Southern states  as a sound that combines brass, triangle, loud kicks, snappy snares, low-end 808 bass samples, and most notably—aggressive triplet hi-hats. With the two genres combined and paired with a bravado-fueled artist singing and/or rapping in Spanish over the sparse beat, you have an infectious melody.

The artist most closely linked with Latin Trap’s blazing success is Puerto-Rican born Bad Bunny, who has a rhythmic cadence and low, slow slurring vocals that put him in a class with the Migos and Future from Atlanta. Hailed as the King of Latin Trap, he’s steadily been one of Youtube’s Top 10 Most Viewed artists and has done major collabs with chart-topping pop acts like Cardi B, Drake, Will Smith, Marc Anthony and Jennifer Lopez. His artistry has a dual nature, where he’s boasting on one track and then goes all emo on the next, he’s also as comfortable flowing over a trap beat as he is traditional Reggaeton. Considering Latin Trap has its roots in Reggaeton, his ability to ride both rhythms makes perfect sense.

What is Reggaetón?

Latin Trap is often viewed as the resurgence of Reggaetón, though the two styles are somewhat distinct. Today’s Reggaeton sounds like DJ Snake’s banger “Taki Taki” featuring Cardi B, Ozuna and Selena Gomez, as well as Justin Bieber on “Despacito” with Luis Fonsi and Daddy Yankee, or J Balvin and Willy William’s “Mi Gente,” featuring Beyonce—a little bit pop and a little bit Moombahton, a mix of house music and reggaeton, and a little bit dembow. Dembow is a riddim built from dancehall artist Shabba Rank’s 1990 hit song, “Dem Bow,” produced by reggae and dancehall producer, Bobby Digital, who earned his name for being one of the first in his genre to experiment with digital rhythms. A riddim is Jamaican for the rhythm that accompanies a track and is stripped of its original vocals so that it can be used by other artists.

The dembow riddim, with its pulsating drum machine sounds, became the backbone of the Reggaeton sound. Reggaeton is said to have formulated in the early 90s in San Juan, Puerto Rico when DJ Playero put out mixtapes featuring Spanish freestyle raps over hip-hop and reggae fusions. At the time, Reggaeton was mainly underground because its themes were too aggressive or vulgar for radio play. There was also the musical collective, The Noise, consisting of a band of rappers, DJs and producers, including DJ Nelson, DJ Negro and Ivy Queen who were doing their part to bring Reggaeton out of the streets of San Juan and onto the mainstage.

But the most widely known Reggaeton artist, who is also known as the King of Reggaeton today is Daddy Yankee, who got his start on one of DJ Playero’s mixtapes that were recorded in a small studio back in 1991. Daddy Yankee would later go on to craft an explosive international Reggaeton hit in 2004 called “Gasolina,” featuring a catchy chorus and the dembow banging beat, that was said to definitively put the genre on the international music map.

In the 90s, there was another branch of Reggaeton emerging from Panama, led by El General, whose 1988 release of “Estas Buena,” a Spanish-language cover of Shabba Rank’s “Dem Bow,” sounded just like it came out of the Jamaican dancehall. El General found success with another track, “Tu Pun Pun,” that received American airplay, riding on the wave of the dancehall popularity of the time. He also experienced some cross-over love when he was featured on a pop music hit with C&C Music Factory. Some music critics call El General the father of Reggaeton, but others argue that his music was more Reggae en Español, because it was just Spanish-language Reggae, while Reggaetón has more of a kinship with hip-hop. This is one of the main reasons that Latin Trap is said to have its roots in Reggaetón music, especially since many Latin Trap artists ride the fence of both genres—hip-hop and reggae.

The early-to-mid aughts also gave birth to a Reggaeton movement within New York City, with rapper Noreaga’s release of “Oye Mi Canto,” in 2004 featuring reggaeton artists Gem Star, Daddy Yankee and Big Mato, as well as New-York based sister-twin duo Nina Sky. Nore and Nina Sky, with their Puerto Rican roots, fused the music of their native land with the hip-hop they grew up within NYC.

What is Trap?

Trap music originated in Atlanta in the early aughts. With this musical style, it’s like, “Which came first, the chicken or the egg?” Some wonder whether the genre rose from its lyrical content or from its musical style—rapid-fire hi-hats and pared-down drum patterns programmed on the Roland 808, with pitchy resampled funk or hip-hop samples. Rapper T.I. claims to have coined the term when he released his seminal hip-hop album Trap Muzik, with trap being a reference for a place where drugs are sold and the content of the album centering around that lifestyle.

Other music critics suggest that trap music is really all about the sound, which can be credited to producer Lex Luger, who started out making beats on Fruity Loops featuring hard-hitting 808 kicks, spooky synthesizers and crisp snare drums creating a boombastic orchestral blast. His sound cemented its place in hip-hop with Atlanta-based rapper Waka Flocka Flame’s “Hard in da Paint,” single off the album of the same name released in 2010. Around the same time, producer Shawty Redd was also in Atlanta creating dope-boy music with Young Jeezy and Gucci Mane, also signaling the birth of trap, as these productions featured a multilayered, drum-laden style while the rappers’ lyrical content focused on life in the drug game.

Today’s Trap music has elevated itself to pop music status, with artists like Migos, Future and 2 Chainz crossing over into the mainstream, yet continuing the tradition of trap music from both a content and musical perspective.

What is Latin Trap (Trapeton)?

The worlds in which Latin Trap and American Trap converge is most notably when artists collab, but it’s also in the way the Roland 808 drum patterns sound, along with how the vocals flow in triplets, where you have three notes—either in a word or phrase—cascading over one beat. The triplet flow is also known as the Migos flow, the Versace flow, and the infamous mumble rap. But where mumble rappers and Trapeton artists diverge is where songs are sung either in all Spanish or bilingual style and the rhythm contains Latin flavor and elements of the dembow riddim most closely tied back to Reggaeton.

Latin Trap came about as the convergence of Spanish-language remixes of trap club bangers and Reggaeton artists gravitating toward a more hip-hop influenced sound. Besides Bad Bunny,  artists like Ozuna, Farruko, Messiah and De La Ghetto are leading Latin Trap’s assault on the mainstream.

In this track “La Ocasión,” featuring Latin Trap and Reggaeton all-stars De La Ghetto, Arcangel, Ozuna, Anuel Aa, Dj Luian, Mambo Kingz, you can hear the influence of Trap—the staccato triplet rhyme flow, the punchy vocal ad-libs, the lo-fi bass, the crazy skittering hihats and the snappy snares—in an ominous orchestration.

Usually, a wave of music lasts about a good decade. Latin Trap is now just a little bit over 10, but hip-hop has lived long past 30. If the current focus on Latin-inspired music on the global stage is any indication of the genre’s long-lasting success, then Latin Trap just may go on to live as long as its hip-hop brother.

Aug 07

The Breakdown: DJ Scratch’s 20 Best Samples and Beats

by in Music

To celebrate DJ Scratch’s 30-plus years in the rap game, Melodics Magazine culled through his massive discography and picked out 20 of his best samples and beats.

Throughout the 1990s, hip-hop developed a plethora of pioneering DJs who eventually stepped behind the turntables and became legendary producers. DJs like Pete Rock, Premier, Marley Marl, Jazzy Jeff, Kid Capri and the late Jam Master Jay are just some of the distinguished names who went from world-class DJs to influential producers without sacrificing one art form for another. In fact, both art forms are closely connected. In many creative situations, elements of DJing can be used for music production, too.

Nobody personifies this better than DJ Scratch, born George Spivey, a legendary DJ and a whiz kid on the turntables. The three-time Grammy nominees acrobatic skills on the 1’s and 2’s led him to win several DJ championship titles. The Brooklyn, N.Y. native is the 2010 Master of the Mix winner and was a three-time “Turntablist of the Year” honoree at the Global Spin Awards. And he’s a New Music Seminar Battle for World Supremacy DJ champion.

Scratch, who was a protege of the late Jam Master Jay, would eventually lend his turntable skills to EPMD and become their official DJ. After his stint with the iconic rap duo, Scratch would become one of the central figures of the 1990s East Coast hip-hop production era. He crafted stellar beats for Busta Rhymes, LL Cool J, PMD, Das Efx, among many others.

Scratch is a master at sampling and taking unconventional sounds or vocals from rare vinyl LPs and turning them into musical gold.

“I always approach producing like how I approached DJing. I didn’t want to do what was popular…I always wanted to create something [different on the turntables],” he said in 2017. “If you really take a look at my discography, I didn’t sample stuff that everybody was sampling. In the ’80s, early ’90s, everybody sampled James Brown — everybody. And I was like, ‘we need to do something different.'”

Check out DJ Scratch’s 20 Best Samples and Beats below.

20. PMD – “I Saw It Cummin’

Original Sample: Ohio Players – “Funky Worm
Using one of West Coast hip-hop’s foundational samples, “Funky Worm” by the Ohio Players, DJ Scratch adds the twinkling Moog synthesizer to the slow-pounding beat. Along with the vocal samples from Snoop Dogg’s “Gin & Juice” and Ice Cube’s “No Vaseline,” the song has a G-Funk feel but is still dripping with East Coast flavor.

19. DMX – “The Rain” (2003)
Original Sample: Greg Perry – “Will She Meet The Train In The Rain

Scratch went into his collection of 45s and pulled out this 1975 gem from soul singer Greg Perry. He used the entire song to craft DMX’s solemn song from his 2003 album, Grand Champ. From the flute and piano riffs to Perry’s monologue, to the funky bop, Scratch flipped something old to new again with his unique sampling skills.

18. Wu-Tang Clan – “Watch Yo Mouth
Original Sample: Lalo Schifrin – “More Plot” (1967)

Scratch grabbed the crackling snare from Iron Butterfly’s 1968 song “Get Out of My Life, Woman” but the haunting violin groove on the song is from Lalo Schifrin’s 1967 Mission Impossible score, which brilliantly sets the mood for Wu-Tang Clan’s menacing rhymes.

17. Das Efx – “Bad News” Featuring PMD
Original Sample: Power of Zeus – “The Sorcerer of Isis (The Ritual of the Mole)

Scratch used the monstrous drum and snare pattern featured at the beginning of Power of Zeus’ 1970 song “The Sorcerer of Isis (The Ritual of the Mole).” It’s a classic breakbeat that’s been used by many legendary DJs, including Pete Rock.

16. Busta Rhymes – “We Could Take It Outside
Original Sample: Henry Mancini – “The Windmills of Your Mind
DJ Scratch and Busta Rhymes have created a plethora of classic bangers together. This is one of many featured on this list. In addition to cutting up Run-DMC’s vocals from “Beats to the Rhymes,” Scratch looped Mancini’s tranquil piano to set the mood.

15. Beanie Sigel – “Purple Rain” (Feat. Bun B)

Original Sample: The Dramatics – “In the Rain
The piano riff and guitar lick from the Dramatics classic soul ballad are placed perfectly on Beanie Sigel’s solemn ode about lean addiction.

14. Talib Kweli – “Shock Body
Original Sample: Gaspare “Gap” Mangione – “Boys With Toys

DJ Scratch is very precise when it comes to sampling. In this instance, he sampled the dramatic horns from “Boys With Toys,” which effectively gives the song a sense of urgency for the listener to pay attention to Kweli’s impactful lyrics.

13. Will Smith – “Gettin’ Jiggy Wit It” (DJ Scratch Remix)
Original Sample: Stephanie Mills – “Put Your Body in It
While Scratch is mostly known as a producer, he’s also a great remixer as well. Will Smith’s 1997 song was already a club hit, but Scratch flipped it and turned it into an ‘80s skating rink jam. By slowing down the funky instrumental on Mills’ 1979 song, he turned Will’s track into an ‘80s version of “Bounce, Rock, Skate, Roll.”

12. Q-Tip – “N.T.” (Featuring Busta Rhymes)
Original Sample: Brethren – “Outside Love by Brethren

Once again, Scratch used a familiar breakbeat and flipped it on its ear. There’s also a piano sample on here that we cannot place, but it fits perfectly on this head-nodding track.

11. Flipmode Squad – “Everybody on the Line Outside
Original Sample: Tangerine Dream – “Impressions of the Sorcerer

When it comes to sampling, Scratch is not afraid to use music from rare recordings. For this Flipmode banger, he used the synths stabs from Tangerine Dream’s 1977 song. It’s a small sample but effective.

10. 50 Cent – “I’m a Hustler
Original Sample: Barry White – “Mellow Mood (Pt. 1)
Once again, when Scratch uses a sample it’s for a purpose. Much like the title of Barry White’s song, the orchestral sample sets the mood for Fif’s urgent lyrics of getting rich or die trying.

9. LL Cool J – “Ill Bomb”
Original Sample: David Porter – “I’m Afraid the Masquerade Is Over
David Porter’s tickling piano groove was most famously sampled on The Notorious B.I.G.’s classic 1994 song “Who Shot Ya.” But Scratch went a different route with Porter’s soulful tune. The ingenious producer took a snippet of the horn riff (heard midway in the song) and Porter’s vocals to create a definitive East Coast banger for Uncle L.

8. Busta Rhymes – “Do the Bus a Bus
Original Sample: Jimmy Spicer – “The Bubble Bunch

Scratch sampled some classic ‘80s songs for Busta Rhymes’ head-nodding track. He took the computer blips and funky groove from Spicer’s 1982 jam to lay the foundation. And if you listen closely, there are interpolations of Malcolm McLaren’s 1982 songs “Buffalo Gals” and “Zulu’s on a Time Bomb” in there as well. This is a complete ‘80s to ‘90s party jam.

7. Pharoahe Monch – “Intro
Original Sample: Oliver Nelson – “Blues and the Abstract Truth

Scratch flipped Oliver Nelson’s jazzy trumpet blasts for Monch’s fiery manifesto on “Intro” from his 1999 album, Internal Affairs.

6. EPMD – “Funky Piano
Original Sample: Albert King – “I’ll Play the Blues for You

During his stint with EPMD, DJ Scratch produced some great songs for the iconic rap duo. This is one of them. There are a plethora of samples on here. He sampled King’s guitar riffs, James Brown’s “Funky Drummer” and Chuck D vocals from “Timebomb,” among others. Scratch also cut up Trouble Funk’s “Pump Me Up” as well.

5. Sadat X – “Maybe It’s Me” (Featuring Dres)
Original Sample: Unknown

There’s no sample on here, but the beat is fantastic. Scratch most likely used an AKAI MPC2000XL to sequence a piano groove that sounds as if he sampled an old piano riff from a vintage jazz album. It’s quite impressive.

4. Swizz Beatz – “Echo” (Featuring Nas)
Original Sample: The New Birth – “Echoes on My Mind

Scratch sampled the tranquil guitars and soulful hahs and woos from the New Birth song, while Swizzy and Nas Escobar deliver their introspective New York street stories.

3. Busta Rhymes – “Gimme Me Some More”
Original Sample: Bernard Herrmann – “Psycho Theme”

Here’s another classic from Scratch and Bussa-Buss. The creative producer looped a snippet of Herrmann’s orchestral violins, which pierces through the chaotic production. And like the title of Herrmann’s song, Busta goes lyrically psycho on the track.

 

2. EPMD – “I’m Mad” (DJ Scratch Jazz Remix)
Original Sample: Soho – “Hot Music (Jazz Mix)

This is, arguably, one of DJ Scratch’s greatest beats in his discography. The catchy piano riff heard throughout is from Soho’s classic b-boy jam “Hot Music (Jazz Mix),” which is a sample from Wynton Marsalis’ 1986 song “Skain’s Domain.”

1. Busta Rhymes – “New York Shit”
Original Sample: The S.S.O. Orchestra – “Faded Lady

S.S.O. Orchestra’s 1976 soul tune “Faded Lady” has been sampled multiple times in hip-hop – most notably by Diamond D on his 1992 song “I Went for Mine – and Scratch looped the breakbeat brilliantly for Bussa-Buss’ New York anthem “New York Shit.”