It was the dead of Winter. 1995. It’s late on a Saturday night in a land far away, at a time long ago, back when there was no Internet. There was only basic cable, so what’s a 15-year-old boy supposed to do? I used to masturbate to rap video hoes on Urban Xpressions on Channel 48 ‘cause it was local access and they would always show the “raw” versions the videos.

In between Patra and Wreckx-N-Effect videos, I remember seeing the gas flame on the stove, the red Hennesy jersey (not “Hennessy, ”but Hennesy with one S), the drum intro. “Shook Ones” changed my life forever that night.

My mother had just recently died of cancer, my grandfather got diagnosed with cancer (they gave ‘em nine months to live. He’s still alive and kicking with no treatment. FTW.), and my brother would die at the hands of the local police a year later.

‘95 and ‘96 were two of the hardest years of my life, and my ONLY coping mechanism was rap music. Mobb Deep was at the top of the list. Prodigy was my favorite rapper. He WAS New York street rap, and when executed masterfully, there’s nothing better.

I didn’t know Prodigy well, yet I felt his death the way people felt John Lennon’s death. It sent a shock wave through social media. Anyone who’s anyone showed respect, and I can truly say we all lost one with his passing. I’m extremely grateful for his contributions, and even more grateful that I got the dream opportunity to get him on a song this year—which was YEARS in the making. I don’t know if we’ll ever recover from losing someone like Prodigy. For all of the true Prodigy heads like myself, I wanted to share some of his greatest deep cuts.

Mobb Deep & Kool G Rap – “The Realest”

The first time I ever heard “The Realest” was on Thug Thursdays. After Stretch & Bobbito split and were doing every other week, Stretch Armstrong played “Thug Muzik” and “The Realest” back to back. It was not only my favorite Mobb Deep song ever, but maybe my favorite song of all time. It was also my first official introduction to the Alchemist who became my favorite producer and REALLY gave Prodigy a second wind. It’s crazy how you can go from The Infamous to Hell on Earth to Murda Muzik, then you add someone like ALC and the whole dynamic changes for the better. It’s fucking incredible to this day.

Prodigy – “Money Is a Weapon”

Ignore the date on the embedded video; this was one of the last things they leaked before finishing HNIC 2 when P went to prison. This is Prodigy at the absolute top of his game. 2007-2008 was nothing but incredible music. Some people may recognize the beat; 50 Cent used the same ALC instrumental for “The Mechanic,” which is probably why this song never went much further than this video. I prefer “Money is a Weapon,” and I think you will as well. The video is gritty and raw, the music is gritty and raw…what more could you ask for?

Prodigy, Un Pacino & H Brando – “They Want Me Dead”

This is the hardest shit ever. Un Pacino and H Brando are Far Rock street legends. They’re in a group called Hard White alongside Scott Cane, Boogz Boogets, and Mumbles. They were breaking through around the time Un Pacino illustrated some of the realest rap shit ever, only to go down hard for a home invasion. Prodigy was already in prison when Product of the 80’s dropped, and it’s just raw. It’s everything I want in a street record. The intro alone is Un Pac listing federal prisons that he may or may not end up doing time in. Sid Roams’s eerie signature backdrop plays perfectly. Product of the 80’s is a GREAT record that unfortunately missed a lot of listeners, which could be due to Prodigy being in jail. When you’re out of sight, you’re out of mind.

The Almighty RSO ft. Prodigy – “The War’s On”

Do yourself a favor and just skip to 1:52 in the video. You don’t need to see Benzino and his Bostonian Goon Squad ruining this ridiculously ill Havoc beat. Prodigy absolutely kills it. “Fuck a pearly white gate, all that bullshit is fake, the only gates I see is if they send the God upstate.” And this was ’96; this was post-Infamous when Prodigy was pretty much the most in-demand street rapper in the business. This passed everybody by because, again, even pre-Eminem beef who the fuck wants to hear anyone on this song except for Prodigy? Maybe Dart Adams (hi, Dart)? Prodigy flamed the shit out of this song and it should’ve been something in the tuck for Mobb Deep to use. Incredible verse.

Mobb Deep & I20 – “When It Comes To Beef”

Alchemist looped up Isaac Hayes; Prodigy and Havoc both spit vintage verses. This is off ALC’s Insomnia mixtape, which is flawless in its own right. Prodigy spits a cryptic flow about his cousin Craig catching bodies at Wendy’s, a sneak diss to Bone Thugs-n-Harmony for no real reason, and it’s just what makes Mobb Deep great. Less is more in every conceivable fashion, leading to an incredible listening experience. This came out in 2003. It’s 2017, and I still don’t know who I20 is. It doesn’t matter. He provided the hook and kept it movin’ apparently. Was he cousin Craig? Hmmm.

Prodigy & Cormega – “Three”

My favorite song off the original HNIC album. This shit is no frills: the Alchemist beat, no hook, and both verses are fire. This is riding music. Point. Blank. Period.

Mobb Deep – “It’s Over”

Havoc killed the Eric Gale sample, and this was during a lull—if you could even call it that. I loved the Free Agents mixtape. It wasn’t well-received, but this was the B-side to “Solidified” on the 12″ and I thought it was clearly the highlight of the Free Agents mixtape. “You know you love our style, get off our dick.” It’s some smooth G-shit especially for 2003, when the music was clearly shifting toward a whole new paradigm. They stayed tried and true to what they do best. I love “It’s Over.”

Prodigy – “Bang On Em”

You could pick any song off Return Of The Mac, but this is my personal favorite for selfish reasons. The sample is The Montclairs, which I had JUST flipped maybe a few weeks before I heard “Bang On Em” and retired my low rent version for good. I was astonished by how Alchemist flipped it. P spit that futuristic, yet vintage street shit, and a few days later I heard the whole project. I said it then, it was an instant classic. Now in 2017, I think Return Of The Mac is the last classic album. It’s the only album in the past decade where you don’t have to skip a single track. It flows seamlessly, the synergy between Alchemist and Prodigy is perfect, the features were minimal and effective, and I’m going to listen to Return Of The Mac as soon as I’m done writing this.

Prodigy & Nas – “Tick Tock”

The best song off Alchemist’s 1st Infantry album. Nas and P sound like they did in the Infamous days. It illustrates a tale of growing up in NYC, and the beat is some of the smoothest laid back G-shit you’ll ever hear. I remember when I first heard the leaked Nas verse, no one even knew Prodigy was on it. Then when the full version was on ALC’s album, I skipped everything to listen to “Tick Tock” first. It’s one of the best Alchemist beats of all time.

Prodigy & Big Twins – “What A Real Mobb Do”

There was a snippet of Prodigy driving around in his Porsche listening to this song. It never came out on anything officially, and I remember searching far and wide for days. It leaked on the net via Tapemasters, Inc. This shit is a rugged Alchemist beat with P just spitting. It’s around the time they were doing Return of the Mac, as several songs off that were leaked via mixtapes like Stuck On You and Legends. This song never went beyond the Internet I don’t think, which is a damn shame ‘cause it’s the hardest shit out there.

Vanderslice has produced for the likes of Prodigy, Action Bronson, Styles P, Jadakiss, Evidence, and Freddie Gibbs. His upcoming project “The Best Album Money Can Buy” is slated for a Fall release. Check out his beats here: https://vanderslice.bandcamp.com/

The art of the sample: where does one begin? It’s been a staple of production since the 1980’s. Whether it’s a drum break, a sound effect, an “ooh” or an “ahh,” sampling has been the cornerstone of most modern music. The art was frowned upon by a lot of sampled artists during the hip-hop takeoff, considering most of what was going on in rap was lost in translation by the sampled guys. However, hip-hop pushed through like it always does, and innovated as it always has. Back then most of the artists who ventured into sampling had no access to large-scale studios and used what they could to create something special and unique. Sampling was and always will be a staple of music.

Now, the art of digging for samples is whole other adventure that has significantly changed over the years. I want to preface my next words by saying they will absolutely read like I’m an old curmudgeon, but it is what it is. I take this very seriously. Music pays my bills, primarily because my style is bred from samples that you’ll probably never unearth. Why? Because you don’t dig how I dig. I hold my samples in my hand still, and most are worth more than your mother’s mortgage (including that $200 you pay to occupy her basement…I see you). Anyway, so the record store is a level playing field. It doesn’t matter how famous you are, how talented you are, who you know, or even how much money you have. If you have a single dollar you can find something in a record store. There is a serious lack of ethics when it comes to sampling—partly because it was bred out of necessity, partly because the elders would rather throw up roadblocks than encourage and teach the youth, and partly because people are scumbags. The more accessible something becomes, the lower the barrier of entry gets. Eventually the standards fall. Rap music without sampling is everything you don’t want in your life. It’s synthetic and cold. There’s no feel to the music, so there’s no emotion in the music, and the listener is left with an empty feeling they replace with “Molly and Percocet.”

That’s why I’m here; to remind everyone of the value of sampling with finesse and not bastardizing it for the sake of grab someone else’s creation as a lazy way out of creating your own. I am going to omit the obvious. I’m not going to mention drum breaks a la “Substitution” and “Impeach The President.” I’m not going to talk about James Brown, Isaac Hayes, Kool & The Gang, etc. This is more in tune with simply things that I hear that annoy me as a fan and as a producer. I know the “Amen” break was sampled 2500 times. Nobody gives a fuck; that break is shit anyway. It’s hard to tackle the issue of sampling because SO many people just do it wrong. So many people are looking for a hit or a quick fix; most people don’t know shit about arrangement or progression. Then you have the flipside of kids who only want to make beats that already sound like someone else’s. You have to take and use your influences, and apply them to YOUR music. Have something identifiable for the listener to relate to and feel. That’s the whole gig. Give the listener something they can feel.

Over the years, sampling has become sort of a lost art. Very few people dig for records and even fewer people dig for samples. As rap music becomes more corporate, more diluted, and less artfully done, the music will suffer. The keys on a piano sound exactly the same on every piano. An A-flat is always gonna be an A-flat. DJ Mustard is not a genius. The sad state of affairs we’re currently in is our own fault. People are led by the urge to profit off what they’re creating, as opposed to creating itself. EVERY corner a kid can cut in 2017 is getting cut. They don’t go buy records and try to make something that they identify with. No, they go look up “hot Alchemist sample” on YouTube and then sample a poorly encoded, lo-fi, no feel, YouTube video and do their best impression of Alchemist. I’m going to illustrate this the best way I possibly can.

There are four simple rules—and if you are going to sample, please for the love of God and all things holy: STOP DOING THESE THINGS. Here are the rules you SHOULDN’T follow.

Rule No. 1: If you can’t do it better than the original, then don’t do it at all.

Sample:

Stavros Xarchakos – “Palikari Dipsasmeno”

Sampled by:

Dilated Peoples – “Reach Us”

Bryson Tiller – “Self Made”

The Dilated Peoples beat is sublime and is produced by Joey Chavez & Bravo. Together they make Sid Roams aka the last purveyors of quality street rap music. Bryson Tiller’s shit is buns: 808 kit, lazy chop, and a bad mix make for things all bad. The Bryson Tiller joint is so wack, if you go search for it on YouTube, the first page is like four instrumental versions. Do yourself a favor and just go listen to the Dilated joint.

Rule No. 2: If it’s a hit, leave it on the goddamn shelf.

This goes both ways. I’m not talking about P Diddy and Trackmasters sampling “Juicy Fruit,” I’m talking about everyone hearing “Mask Off” by Future, finding the sample, and then sampling the OG. You are a SCUMBAG if you do this. PERIOD.

Sample:

Tommy Butler – “Prison Song”

Sampled by:

Future – “Mask Off”

Insert 500 try hards here for everyone else who tried to flip this sample better. Just search “Mask Off flip” and grab a bucket to vomit into. Young Metro and I don’t trust you. This was hands down the best execution of the sample. Don’t even try it.

Rule No. 3: Stop sampling the same songs.

Here’s an extreme example of an artist sampling a song twice.

Sample:

Incredible Bongo Band – “In a Gadda Da Vida”

Sampled by:

Nas – “Thief’s Theme”

Nas – “Hip Hop is Dead”

Incredible Bong Band’s “In a Gadda Da Vida” was masterfully used by Salaam Remi on “Thief’s Theme” and then poorly used by will.i.am on “Hip Hop is Dead.” This is an abuser of Rules 1 AND 2. It’s a perfect highlight of everything that can go wrong with sampling.

Now for an overused sample.

Sample:

Sister Nancy – “Bam Bam”

Sampled by:

Run-DMC – “Down With The King” (Ruffness Mix)

Jay Z – “Bam”

According to my calculations, I can recall 50+ songs that sampled this shit. I only hope that Sister Nancy is eating a full plate as opposed to Ruff House who probably owns the sample (insider gag lulz). Pete Rock’s “Down With The King” remix was killer, Jay Z’s most recent usage in “Bam” was also dope. What’s really crazy is how the value of the 45 plummeted after it was reissued. That’s probably why there are 75 versions of it out there, you beat jackin’, CD samplin’, reissue ownin’, YouTube diggin’ hacks. STOP SAMPLING THIS SHIT.

Also sampled by:

Sean Price – “Jamaican”

My favorite flip, it’s a very straightforward beat produced by Khrysis. Sean P rides it flawlessly. You don’t need anything more than this and the original sample. It’s hardbody.

Wiz Khalifa & Chris Brown – “Bomb”

The worst flip of any sample of all time. This is so extra in every sense of the word and is unpleasant to listen to.

Closing Thoughts:

If you want to sample, take 20 dollars and Google “record stores near me” and turn your location on for three minutes so the FEDs can spy on you *cues dramatic music*. Then just go to a record store, buy whatever you think looks good in the dollar bins, go home, and start there. You can get a USB turntable for 99 dollars. It’s an investment in yourself that will ultimately help you expand your horizons as an artist and more importantly, as a listener. There are WAY more records in the world than there are mp3’s and YouTube videos. Be unique. Go do something different. Even if your first beats are breaking all of these rules, you get a grace period of 1 – 3 years before that becomes a felony offense. Everyone that started making beats was garbage when they started. It’s a combination of effort and time that will develop your skill set. Anything less is uncivilized. Don’t put your beats on Soundcloud three weeks after you started and get that American Idol ego. Put the time and effort in and grow into yourself as an artist. Sampling is a path to enlightenment when it’s done properly. The rest of you guys can go back to using your MIDI controller keyboards rocking on those broken (stolen) VST’s pumping out the same two-finger melodies until the cows come home.

If you need me, I’ll be in the Gospel section pushing this shit forward.

Godspeed.

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