Yo KN readers! In honor of February being the late great J Dilla month, today’s installment of Who Flipped It Better will examine one of my favorite Jay Dee produced tracks from his expansive catalogue from Slum Village’s classic Fan-Tas-Tic Vol.1. “The Look Of Love” samples Barney Kessel’s great jazz guitar cut of the same title. So rather than compare Jay Dee’s work against another producer, I am going to eloquently translate Dilla’s creative process into my own words.

This instrumental is not one of J Dilla’s most interesting works technically speaking, but its brilliance lies within the simplicity of it. In this case, he chose to loop a subtle part of Kessel’s song, raising its pitch and increasing the tempo, giving the loop a nice mellow groove. The original is full of sample-able portions but Jay Dee’s uncanny ear for melodies found the best part and knew just what to do with it. Rather than using quick chops throughout the song like many of his beats, he chose to lightly chop up the one section he found from which he created his own loop.

“The Look of Love’s” drum kit and pattern come in typical J Dilla fashion, complete with dusty pulsating kicks and percussion. The use of percs is minimal inside the beat but the role that they play is vital. Dilla added what sounds like an 8th note delay and swing to the shakers, carrying the beat with their rhythmic presence. His expressive drums add the perfect Hip Hop element to the smoothed out jazz sample, leaving room for only the emcee’s presence.

Slum Village’s lyricists spit light, sexually driven bars blending with the vibe of the beat perfectly.  This particular track is one of the illest displays of S.V.‘s chemistry as a group. And what I love about this track is that you can put on the instrumental or the whole song and either way, you still get the same feeling. Almost as if they don’t need each other, but sound that much better together.  The melody of the song also emits a vibe that doesn’t come often when listening to Hip Hop but as most of us know, this is where Dilla was a shining star! Be sure to also check out the remix as it samples Trina Broussard’s, “Inside My Love” as well as J88’s “The Look of Love Part 2”. These are two dope tracks as well but nothing beats the original.

Slum Village: The Look of Love

Slum Village: The Look of Love (Instrumental)

What do you think of “The Love of Love?” Leave your comments and opinions below and let me know what tracks you would like to see examined or compared for upcoming installments of Who Flipped/Spit It Better!!

Related posts:

1. DJ Concept: The Immortal J-Dilla [A Live J-Dilla Set]
2. DJ Grouch: Dilla’s Best Breaks
3. The Gap Band: J Dilla vs. J Dilla vs. J Dilla

Happy New Year to our readers and welcome to this year’s first installment of KN’s, Who Flipped It Better. Beginning with the sample of choice for the entry, “Let Me Ride,” we’re looking at an impeccably soulful song courtesy of 1970’s Chi-Sound Records band, Windy City. This song was flipped to create the two instrumentals in today’s match-up, comparing Slimkat78’s production on Diamond District’s “Off The Late Night” from their stellar LP In The Ruff against 9th Wonder’s beat for “Let Me Ride” from Actual Proof’s album The Talented Tenth.

Each producer emphasized vocal chops from the sample throughout the verses, which helped maintain the laidback soul vibe of the original, although Slimkat’s78’s manipulation of the voices sounds downright sexy. He chose to draw out the vocal loops and chops to the point they almost sound like background singers creating an incredibly smooth track. 9th Wonder uses his signature choppy, pitch adjusted techniques on the vocals and softly placed the more harmonic loops in the background, omitting an airy ambient sound from their presence. Wonder chose to speed up the sample giving “Let Me Ride” a much different feel than the snail-paced original and the 89 BPM  “Off The Late Night.” Slimkat78’s ability to uphold the essence of the original while still completely flipping it was a nice addition. His beat has a very sophisticated sound to it that I’d consider the track more of an instrumental than a “beat.” The main component of 9th’s beat is the string loop, which carries on throughout just about the whole track. In comparison to some of his past work, 9th Wonder’s flip on this song does not standout. The sample sounds lackadaisical and doesn’t give the track the fullness that it should. Of course any drum pattern from 9th Wonder is going to make your head nod, but the drums here are nothing out of the ordinary, but one thing I did notice was it did not contain much if any percussion or hats; it was basically just a kick drum and snare.

“Off The Late Night’s” drum pattern has a bigger, brighter sound to it that has a nice swing and bounce along in perfect timing with verses from the members of Diamond District. The one up that “Let Me Ride” has on “Off The Late Night” is a thicker baseline. Neither of the tracks are overly bass heavy but Slimkat78’s doesn’t quite fill up and drive the track like 9th Wonder’s.

A similarity between the songs was having a hook/chorus instead of utilizing the sampled vocals to create bridges between the verses, which are equally fitting for both songs. And having a hook didn’t sound necessary in either instance because of the prominent vocal samples.

Ultimately, the strength and flip of the vocals is what made this choice for me. Slimkat78 was able to uphold the soulful vibe of the Windy City sample, matching it with the perfect drums to keep things sounding slick. “Off The Late Night” is that flavor of instrumental that makes you want to hop in the ride and cruise around under the city lights on a late night tip.

Winner: Diamond District, “Off The Late Night” produced by Slimkat78.

So who ya’ll got on this one? And don’t forget to drop me a line or send a Tweet about who you would like to see square off on Who Flipped It Better. 

Windy City: Let Me Ride

Actual Proof: Let Me Ride

Diamond District: Off The Late Night

Related posts:

1. 9th Wonder: 9th Invented The Remix… AGAIN
2. Charles Hamilton vs 9th Wonder
3. Wale: Word Play [prod by 9th Wonder]

Ayers’ smooth cut “Sensitize,” courtesy of his 1974 album, Change Up the Groove, created the foundation for this week’s battle of Who Flipped It Better. In this edition, we match up Mississippi rapper/producer Big K.R.I.T.’s, “Made A Lot” from his self-produced mixtape Return of 4eva vs. Black Rob’s “Life Story,” the title track off Rob’s Bad Boy Records debut of the same name.

Let me start by saying that although these records utilize the same sample and in a very similar way, they are completely different songs in terms of everything else.

K.R.I.T. conjured up a dusty instrumental that doesn’t contain many intricacies or changes but upholds a raw, traditional style that allows his flawless drawl to take over the track giving it that undeniable southern flavor. From the Ayers song, he chose to loop a melodic vocal part backed by what sounds like strings and a bass guitar. The loop carries on throughout the track working as its main component. 808 and Tom drums with a steady side-stick make up the lazy drumbeat that I’m sure creates booming kicks on a larger system. My qualm with this beat is that it feels as if it didn’t take long for K.R.I.T. to make and actually sounds like it was composed in a bedroom somewhere in Mississippi’s backwoods. It’s a dope track that happens to be very raw and sonically not well put together. “Made A lot” sounds exactly like what it is…. a good mixtape filler, especially in comparisons to a stellar album cut such as Black Rob’s “Life Story.”

Nysheim Myricks of the famed Hitmen production team laced Black Rob with an undeniably ill instrumental for his first album. He utilized the same melodic loop as K.R.I.T. but he either had a much better copy of the Ayers record or some superior skill behind the boards because the way it sounds on “Life Story” far exceeds that of “Made A Lot.” One of my favorite parts of the track comes at the 3:20 mark. Myricks switches up the beat using another piece of the Ayers sample not heard anywhere else in the track. This is a nice bridge that brings you as listener back into the song.

In conclusion, “Life Story” is the better track. Sonically, it’s ear candy because of the professional mixing and mastering placed onto a commercial album. This indeed gives it an upper hand, but it’s still a fair battle because they used the same part of the sample. What Myricks did was enhance this by interpolating the vocals adding a big bass line and a mellow drumbeat. This combination makes K.R.I.T.’s use of Roy Ayers “Sensitize” for “Made A Lot” sound lack luster.

KN Fam—–What’s your opinion? Share your thoughts in the comments and be sure to cast your vote below!

Roy Ayers: “Sensitize”
Change Up The Groove (1974)

Black Rob: “Life Story”
Produced by Nashiem Myrick
Life Story (2000)

Big K.R.I.T.: “Made A Lot”
Produced by Big K.R.I.T.
Return of 4eva (2011)

Related posts:

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2. Black Rob: Celebration
3. Rob Jay: I Amaze Me [prod by Black Metaphor]

For this addition of Who Flipped it Better, we match up Dom Kennedy’s, “Playa’s Punch” vs. Black Moon’s, “How Many MC’s.” East and West Coast, new school vs. old school, whose producer(s) built a better song out of the awesome bass guitar on Grover Washington Jr.’s, “Hydra?”

As one of the most recognizable samples ever used in a Hip Hop beat, the funked up down-tempo feel of “Hydra” gives the producer and artist the ability to take the song in any direction they’d like. Whether it’s an upbeat track such as “Playas Punch” or unrestrained street Hip Hop like “How Many MC’s,” the producer didn’t have to make many additions to create identifiable songs.

Dom Kennedy’s, The Original Dom Kennedy was a free EP released early this year, unfortunately without any production credits, leaving only those familiar with Dom’s camp to guess [at best] who crafted the beats. My best bet is past and current collaborators Polyester or LAUSD. Nevertheless, the instrumental for “Playas Punch” keeps all the original flavor of the “Hydra” sample placing emphasis on the bass while layering on some typical yet dope West Coast synths and keys to give it that LA vibe. Besides what seems to be one going on in the background, Dom’s carefree lyrics and Grover Washington Jr.’s chunky bass guitar make the minute and a half song sound like a party.

However, many moons before Dom Kennedy was rapping, Black Moon’s “How Many MC’s” came courtesy of Da Beatminer: DJ Evil Dee and Mr. Walt. The two created a rugged feel for the emcees by spicing it up with eerie sound effects and some nice cuts. The drums are raw and in a boom-bapstic pattern that holds the groove together but is subtle and doesn’t kick much however this is understood because the sampled bass guitar is what really drives this song and gives it that bounce. Buckshot puts the finishing touch on this mix with his aggressive lyricism and straightforward delivery tenaciously ripping through verses as his flow rides perfectly along with the bouncing bass line.

In retrospect, this sample is absolutely ridiculous and any talented lyricist would sound nice on it. I got love for Dom Kennedy and The JBC but in this case, there’s nothing like the old school for me so I’m rolling with Black Moon as my choice. I just can’t deny the concrete stomping feeling I get whenever it comes on!

KN Fam—-take your pick, make it count, and vote for who you think flipped it better! And don’t forget to follow or send me any tracks you’d like to see on Who Flipped It Better on Twitter @Leeharper91

Grover Washington, Jr: “Hydra”
Produced by Creed Taylor
Feels So Good (1975)

Dom Kennedy: “Playa’s Punch”
Uncredited
The Original Dom Kennedy (2011)

Black Moon: “How Many MC’s”
Produced by DJ Evil Dee & Mr. Walt of Da Beatminerz
Enta Da Stage (1993)

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Eighties icon Biz Markie and Watts spitter Jay Rock are polar opposites of the Hip Hop world. In terms of style, content, era, and basically everything else, their music is completely different from each other.  However, one thing that they have shared is rhyming over a sample flip of Issac Hayes’ sensually charged “Ike’s Mood/You’ve Lost That Feeling.”

The legendary Marley Marl crafted the ill old school cut that sounds like one of the original uses of a drum machine in Hip Hop. He used only one part of the sample for the track but they way he sequenced it over the drum layer sounds simply beautiful when it drops in and out, bringing in the only other component to the song besides Biz’s vocals and beatbox. Charged by a consistent 808 and snare pattern, the instrumental is composed of electronic kick drums and rough percussion, but this is what make the beat great. It‘s a true representation of the 80’s and that early Hip Hop sound to the fullest and honestly, it’s so basic that it’s difficult to pick out any negatives. Sure, it’s sonically not the tightest sounding track but it was the 80’s so for what it’s worth, “Make The Music With Your Mouth” is just a dope beat that lays the perfect foundation for Biz Markies eccentric party rocking cadence creating an overall entertaining song from start to finish.

TDE in-house producer Willie B crafted the backdrop for Jay Rock’s “All I Know Is” utilizing the same sample as part of a much different formula than Marley Marl had.  Emphasizing the same keyboard loop that was used in the Biz Markie’s joint, B gave it a realistic sound that is easy on the ears but is repetitive as it plays consistently throughout the song.  Basic bass drums and a snapping snare make up the core of a weak drum pattern. The beat could have been driven more by a bigger drum layer, which could also have helped deter the sample from overwhelming the song. “All I Know Is” sounds like a run of the mill Dr.Dre influenced West coast joint and I mean that with the utmost respect. It’s not that it’s a bad track, but for what it is, there have been to many beats and songs made in this context that are of a much higher caliber.

Maybe it was the mediocre thugged out rhymes from Jay Rock or the interesting hook, “Guns, Drugs, Bitches, Money” that threw me off. Whatever the case, Marley Marl and Biz Markie’s MPC tongue on “Make The Music With Your Mouth” get my vote for best use of “Ike’s Mood/You’ve Lost That Feeling.” 

 What are your thoughts? Check out the tracks and vote and leave comments below!

Follow me @LeeHarper91

Isaac Hayes: “Medley: Ike’s Mood I/You’ve Lost That Lovin’ Feelin’”
. . .To Be Continued 1971)

Biz Markie: “Make The Music With Your Mouth, Biz”
Produced by Marley Marl
Goin’ Off (1988)

Jay Rock: “All I Know Is”
Produced by Wille B
Follow Me Home (2011)

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From my production perspective, there are not to,o many parts to take out of Otis Redding’s minimalist classic “Try a Little Tenderness.” In this situation, the beats sampling the original can end up sounding awfully similar. For this battle of Who Flipped It Better, producer Allah Mathematics “DTD” with Masta Killa is up against Kanye West and Jay-z’s “Otis.”  Since “DTD” came out first, I’m sure Kanye took a long hard listen to the way Mathematics concocted his beat, to make sure that he wouldn’t be called out for biting.

My focus while playing Ye and Jay’s “Otis” is always coaxed into the off-genre masterpiece of a beat that Kanye crafted solely because it doesn’t sound like anything else I’ve heard before.  The lack of drums does something to draw you in close, waiting for a drop that kind of comes and goes. The beat rolls along being pushed by vocal hits that construct a melody of sorts. Sonically, “Otis” sounds great being the original recording is of very low quality. Kanye was able to take this and bring the sound to a new age level, emphasizing the horns and vocal chops, using them more so as powerful individual hits. This details turn this it into a system thumping beat that will catch anyones attention. With “Otis” I felt Kanye sat with the sample more and had time to experiment with different things before creating the final product. Like I stated before, the original is pretty basic, so this could be a reason the two songs in question are so different.

Masta Killa’s “DTD” is raw Hip Hop at it’s finest. Allah Mathematics constructed an instrumental that radiates the classic Wu-Tang sound perfectly. It’s the type of track that makes you say, “Hey, that sounds like a Wu-Tang beat,” prior to even hearing who the artist is. This is probably the main reason that veteran Wu members Masta Killa, Raekwon, and Ghostface sounded so at home on this joint, flowing effortlessly over the bouncing boom-bap beat complimented by rough chops and distorted machine gun snare rolls. The sample arrangement is rather simple and the drums seem to be at the forefront of this beat. I got the feeling a more straight forward approach was taken to “DTD.” Chop the sample, bang out the drums, add the love, and bang! Not to take anything away from Allah Mathematics, but for a talented producer, an ill beat can come out that easy.

I gotta give it to Kanye on this one. “Otis” is creatively too strong not to. He may have had the upper hand with the track being released seven years after “DTD” but all ands, if’s, or maybe’s aside, it will be a track that is still remembered many moons from today.

Otis Redding: “Try A Little Tenderness”
Complete & Unbelievable: The Otis Redding Dictionary of Soul (1966)

Masta Killa: “D.T.D (feat. Raekwon & Ghostface Killah)
Produced by Allah Mathematics
No Said Date (2004)

Jay-Z & Kanye West: “Otis”
Produced by Kanye West
Watch The Throne (2011)

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2. Producer Russell W. Reconstructs “Otis” beat (Video)
3. GZA, Masta Killa & Inspectah Deck: Duel Of The Iron Mic (Live Performance) + New Masta Killa Compilation

What’s a little competition between label mates? Turns out the track that we leaked earlier this week from Nobody Famous sampled the same Donny Hathaway joint that fellow HiPNOTT artist Has-Lo flipped on a previous track that he did. Both producers did the damn thing with this sample, but let’s see what you all think. Who flipped it better?

“I Love You More Than You’ll Ever Know” by Donny Hathaway
From the album Extension Of A Man (1973)

“King” by Nobody Famous
Unreleased (2007)
Produced by Nobody Famous

“Ain’t Got It In Ya” by Has-Lo
From Small Metal Objects (2008)
Produced by Has-Lo

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2. Scarface vs. M.O.P.
3. Wax & Nobody Famous: Making The Record

We’ve featured a couple 9th wonder related post within the last couple of days and they generated some great discussions. We did a flip with 9th versus Charles Hamilton and Kev posted a video where 9th talks about music and the art of sampling.  This post seemed to bring out passion among our readers (check the post).

Someone mentioned that 9th is one of the best producers ever and how the flips are worthless because 9th will win every time (paraphrasing).  So lets put those two opinions to test.   We know 9th is a huge fan of Pete Rock, DJ Premier, and RZA‘s production.  Since we’ve already put 9th up against Pete Rock last year lets see how he’ll do against his other idols.

Jazz artist Bob James and his music has been sampled heavily throughout Hip Hop’s history and his song “Nautilus” is one of the most sampled songs ever….so lets see how the young vet does against the legends.  Huge fan of all three…..this is tough.

Bob James: “Nautilus”
From the album One (1974)

Murs and 9th Wonder: “Murray’s Revenge”
From the album Murray’s Revenge (2006)
Produced by 9th Wonder

Jeru the Damaja: “Mind Spray”
From the album The Sun Rises in the East (1994)
Produced by DJ Premier

Ghostface Killah feat. Raekwon & Cappadonna: “Daytona 500″
From the album Ironman (1996)
Produced by Rza

Note: There is a poll embedded within this post, please visit the site to participate in this post's poll.

Related posts:

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Charles Hamilton dropped a track two weeks ago called “Bud Dwyer” and it used a familiar sample (Bobby Womack’s “And I Love Her”)  used by 9th Wonder.  I really am assuming that Charles produced this joint in light of the accusations of him stealing other peoples music (he address this issue somewhat on the track).  Nevertheless, lets see how he matches up with Mr. Douthit.

Who Flipped it Better?

Bobby Womack: “And I Love Her”
From the album Understanding (1972)

Little Brother: “Speed”
From the album The Listening (2002)
Produced by 9th Wonder

Charles Hamilton: “Bud Dwyer”
Single (2009)
Produced by Charles Hamilton

Note: There is a poll embedded within this post, please visit the site to participate in this post's poll.

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When I first heard the new track from Method Man & Redman (“Ayo”), I thought the sample sounded very familiar. Turns out my man 20 Keys flipped the same sample last year for one of my favorite tracks off Trav Williams‘ The Trickle Down.

So in preparation for the release of Trav’s IllTravis tomorrow, I thought it was appropriate to put these two tracks up against each other. A legend (Pete Rock) against a newcomer (20 Keys). Hit the jump and tell us who you think flipped the sample better.

Phyllis Hyman: “Magic Mona”
From the Fish That Saved Pittsburgh Soundtrack (1979)

Method Man & Redman: “Ayo”
From the album Blackout 2 (2009)
Produced by Pete Rock

Trav Williams: “Something New”
From the album The Trickle Down (2008)
Produced by 20 Keys

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1. Download: Trav Williams – The Trickle Down
2. 2 New Joints From Trav Williams
3. Trav Williams: Bootlegs & B-Sides

Rose Royce: “Love Is In The Air”
From the album Golden Touch (1980)

Little Brother: “Good Clothes”
From the album Getback (2007)
Produced by Illmind

Trav Williams: “For You”
From the mixtape The Learning Curve (2008)
Produced by G.C.

If you’re bumpin the new Trav Williams mixtape (which you should be), you’ll notice a couple of originals produced by my man G.C. I remember when G.C. first emailed me the beat “For You”. I was like, I don’t know man, that’s that “Good Clothes” sample; Illmind already did his thing with that. But once I got that LB track out of my head and the dude Trav Wiliams hoped on it, it was all over.

So I wanna know what you all think. The Illmind flip is classic; how did G.C. do?

Related posts:

1. 2 New Joints From Trav Williams
2. Download: Trav Williams – The Trickle Down
3. Trav Williams: Bootlegs & B-Sides

Al Green: “I Wish You Were Here”
From the album Al Green Is Love (1975)

Consequence: “The Good, The Bad, The Ugly”
From the album Take Em To The Cleaners (2007)
Produced by Kanye West

Nas: “Shootouts”
From the album It Was Written (1996)
Produced by Trackmasters

I hope everyone has been enjoying the holiday and hopefully the mixtape post and the couple of posts today from Carsten has been able to hold people over. I’ve been spending some much needed time with my family and Kanye Week has been the furthest thing from my mind. Plus I think I ate too much turkey, cuz man I’m tired! lol But that doesn’t mean that we’re not gonna finish the week up with a bang.

So here’ our last Kanye sample match up. What’cha think?

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Lou Rawls: “You’ve Made Me So Very Happy”
From the album You’ve Made Me So Very Happy (1969)

Consequence: “Grammy Family” featuring Kanye West & John Legend
From the album Don’t Quit Your Day Job (2007)
Produced by Kanye West

N’Telligence: “Good Morning South Carolina (Let’s Go)”
From the album Black Boy Lost (2008)
Produced by MIDIMarc

Yeah, I put you out there MIDI! But that’s what your ass gets for shinin’…. shine on playa! All week we’ve been putting Kanye up against some more well known producers and Kanye‘s been in the lead. This time we gonna put him up against some lesser known talent and honestly, I think MIDIMarc has got Ye beat! MIDI‘s flip is so much more soulful and just when you’re thinking the beat is getting repetitive he goes and changes the key. Damn! Tell me you all don’t agree…

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3. Hot Mixtape Download: New Kanye West

Creative Source: “I’d Find You Anywhere”
From the album Consider The Source (1976)

The Game: “Wouldn’t Get Far”
From the album Doctor’s Advocate (2006)
Produced by Kanye West

Jadakiss: “By Your Side”
From the album Kiss of Death (2004)
Produced by Baby Grand

Not really much contest in this flip… Kanye‘s got this by a long shot. Anyone else think differently? This is one of my favorite Kanye productions and it’s interesting to see this sample used somewhere else. No, that’s not Baby Grand in the pic next to Mr. West. His mug was nowhere to be found on the Internet so I put Jada up.

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2. Kanye West: Guest Verses, Vol. I
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Aretha Franklin: “Call Me”
From the album This Girl’s In Love With You (1970)

Slum Village: “Selfish”
From the album Detroit Deli: A Taste of Detroit (2004)
Produced by Kanye West

Method Man: “Spazzola”
From the album Tical 2000: Judgement Day (1999)
Produced by Inspectah Deck

We all know the beat by Mr. West (one of my favs), but Inspectah Deck used the Aretha Franklin sample first for a track he did with fellow Wu-Tang member Method Man. Two different takes on the classic “Call Me.” Which is better?

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3. Uncontrolled Substance: Original Samples

Nina Simone: “Sinnerman”
From the album Pastel Blues (1965)

Talib Kweli: “Get By”
From the album Quality (2002)
Produced by Kanye West

Timbaland: “Oh Timbaland”
From the album Shock Value (2007)
Produced by Timbaland

Well, Deez called it… his favorite Kanye produced track, “Get By”. I’ll agree with Deez, what Kanye did with the sample is amazing. But are you familiar with what Timbaland did with it? I think Timbo was definitely inspired by Kanye to use the sample, but he put that umph on it like no one else can. What do you think?

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Alec R. Costandinos: “Quasimodo’s Marriage”
From the album Hunchback Of Notre Dame (1978)

Blood Raw: “Get Away”
From the album My Life: The True Testimony (2008)
Produced by J.U.S.T.I.C.E. League

Beanie Sigel: “What Ya Life Like Pt. 2″
From the album The Reason (2001)
Produced by Just Blaze

Here we are… another edition of “Who flipped it better?”. Thomas actually came up with this one. I had never heard the Blood Raw track before. The original sample is a nice composition. Just Blaze sampled is first, but did the J.U.S.T.I.C.E. League put enough spin on it to justify sampling it again? So check the tracks, check the original, and tell us what you think!

Related posts:

1. Dionne Warwick: Just Blaze vs. J Dilla
2. Just Blaze: Original Samples Collection
3. Friends of Distinction: L.E.S. vs. J.U.S.T.I.C.E. League

Black Ivory: “You and I”
From the album Don’t Turn Around (1972)

Q-Tip: “Gettin’ Up”
From the album The Renaissance (2008)
Produced by Q-Tip

Madlib “Understanding (Comprehension)”
From the album The Beat Konducta: Movie Scenes Vol 1-2 (2006) 
Produced by Madlib  

Last official post for Q-Tip Week… it has really been a blast! I wanna thank my contributers Beads, Deez, Krome, and Thomas for helping out tremendously this week. Without them, this week would not have been what it was. Make sure you got out and support real hip hop and buy The Renaissance! And look out for more artist themed weeks here at the site. Coming up in a few weeks, we’ll be celebrating new albums from Kanye West and Common. So if you think this week was hot, just wait until we hit those weeks up!

Aight, on to this flip. I absolutely love the sample Tip used in his latest track “Gettin’ Up”. It really makes the song. A couple years back, Madlib flipped the same sample for a track off his Beat Konducta series. Check em out and tell me who you think flipped the original better!

Related posts:

1. Welcome to Q-Tip / ATCQ Week!
2. Q-Tip/Dilla vs. Boots Riley
3. Q-Tip: Amplified

Love Unlimited Orchestra: “I Wanna Stay”
From the album Music Maestro Please (1975)

Q-Tip: “Vivrant Thing”
From the album Amplified (1999)
Produced by Q-Tip & J. Dilla

The Coup: “Sneakin’ In”
From the album Steal This Album (1998) 
Produced by Boots Riley 

You know we couldn’t finish up Q-Tip Week without doing a couple of sample flips! Tip‘s hit song “Vivrant Thing” off his debut solo album uses a sample from Love Unlimited Orchestra‘s “I Wanna Stay”. Underground Oakland hip hop duo The Coup used the same sample in their track “Sneakin’ In”. Who flipped it better?

Related posts:

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2. Q-Tip & DJ Dub: Ill Vibe Mixtape
3. Q-Tip: Kamaal The Abstract

Honey Cone: ”Innocent ‘Til Proven Guilty”
From the album  Love, Peace, and Soul (1972)

Murs: “I’m Innocent”
From the album Murs For President (2008)
Produced by 9th Wonder

Common: “Testify”
From the album Be (2005)
Produced by Kanye West

I’ve been rockin’ the new Murs album all day today.  As I’m reading through the linear note (or credits), I notice that one of my favorite tracks on the album (the 9th Wonder-produced “I’m Innocent”) samples the same track Kanye West used on Common‘s “Testify” a few years ago!  I couldn’t believe my eyes.  As I listened closer I could definitely hear the sample, but DAMN did Ninth flip the hell out of that or what?

I gotta give props to Kanye, who flipped it first on one of my favorite tracks from Be.  But what do you all think?  Who flipped it better?

Oh yeah, by the way…. I normally don’t do this, but… Murs For President: Original Samples coming soon!

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