Re: Tokyo Soul Sample Pack WAV
Niki Wienberg
Kyoto is one of the most culturally rich cities in the world, and the place most travelers dream of when envisioning Japan. Home to 17 UNESCO World Heritage sites, Kyoto was the capital of Japan for over a thousand years and remains the heart and soul of traditional Japan.
The video series Iconic Sampling Techniques, hosted by JFilt of Verysickbeats, teaches you about the sampling techniques of the greats, to inspire and expand your own production. Learn how to maximize Tracklib as a crate-digging tool to find the specific sounds you're looking for, and how to utilise samples to achieve the sounds of hip-hop icons like J Dilla and Nujabes.
Dig into a goldmine worth of original music to sample, dig deeper by reading our Blog, or use any of the carefully curated Collections. You can also first watch Sample Breakdowns to get a better understanding of sampling techniques and how to process samples.
Luv(Sic) Hexalogy is an album collaboration created and finalized posthumously by the Japanese producer Nujabes (Seba Jun), who died[1] before the completion of the album, and Japanese American hip hop artist Shing02 (Shingo Annen). It is a jazz hip hop album (hexalogy), that incorporates latin jazz/soul samples and drum beats to create the instrumentals. The scratching was performed by various DJs and the vocals/lyrics were created by Shing02.
The vinyl pressing of Part 2 was originally released in Japan in 2002[10] with the cover being an artwork created by graffiti artist Syu. Nujabes used the jazz sample from the song Qualquer Dia, pitching it down and increasing the BPM. Alongside drum beats and scratching done by DJ Dai-Nasty in M2R Studio.
Luv(Sic) Part 3 was originally released as the fourth track of Nujabes' album Modal Soul. An extended version leaked on the internet featured a third verse, as well as a spoken word intro and outro sampled from Rod McKuen's spoken word album In Search of Eros. A snippet of the latter mix was released in Shing02's collaboration with DJ Icewater, For the Tyme Being, as a medley with a duet rendition of Part 1 featuring Emi Meyer. On March 1, 2010, a new rendition was released on Shing02's YouTube channel as a tribute to Jeff Resurreccion, a beatboxer and fan of Shing02 who died of cancer in January of that year. As part of the Hexalogy compilation, a remastered version with a new vocal take was released in Japan on March 2015[12] 10 years later than the digital release and 1 month after the CD release. This mix features a third verse but lacks the Rod McKuen samples or the break without drums heard in the original and leaked versions. A remix by Ta-ku is also featured in the single release. The vinyl cover was also created by Syu who did the cover for part 2. The song is the second in the series to sample the work of Brazilian singer Ivan Lins - the song features a loop from a cover of Tens (Calmaria) Nana Caymmi, with Ivan Lins (the original singer) on the piano. The DJ scratching was performed by Spin Master A-1 at Shing02's studio.
The vinyl pressing was released on February 26, 2013 and the artwork was created by FJD.[16] The instrumental was a sample loop of Choro Das Aguas with the DJ scratching being completed by DJ Kou.[17]
This track started life as an ambient tune, I later added drums and eventually was lucky enough to get a feature from the amazing Cleveland Watkiss. Cleveland is a legend in the scene and when Lenzman asked me about people I wanted to get on the album, Cleveland was right at the top of the list. The track relies heavily on super slowed down samples, stretched into ambient drones. A super easy technique but crazy effective.
Back in Japan, Satoshi and his team found new molecules from novel microorganisms. The Satoshi team sent promising samples to Merck, which tested the molecules in animal disease models and attempted to enhance efficacy and safety by changing the molecule itself.
What a wonderful resource! My city once had a three-story camera store that tried to carry basically everything. As far as I could tell, they did. I recall selling my young soul there impulse-buying a Zeiss lens I had only seen in the magazines.
Album: N/A
Producer: N/A
Label: N/A
It's like Stetsasonic said: "Tell the truth James Brown was old until Eric and Ra came out with I Got Soul." It's a line oft-quoted in stories about sampling. And sure, no single artist provided the raw material for more hip-hop classics that J.B. - James Brown's "Funky Drummer" loop alone provided enough material for Edan The Deejay to fill his entire mix-tape Sounds Of The Funky Drummer with songs that sampled the legendary Clyde Stubblefield break. In keeping with his "Papa Don't Take No Mess" philosophy, James Brown's label created a department devoted just to listening to new releases for samples of his music, and they got their money, although hard numbers are impossible to verify. One rap legend who never leaned much on James is Too $hort, whose song "Sample The Funk" wonders "Have you heard the term 'sample clearance'? / thought the nigga who wrote it wouldn't never hear it..." Let that be a lesson to all you beat-biters.
Album: Truthfully Speaking
Producer: DJ Quik
Label: Aftermath Entertainment, Interscope Records
The slinky and seductive "So Addictive" was a debut single smash for Dre's female protégé and a powerful comeback for Rakim. But even exotic samples need to be cleared. This one wasn't. In 2002, the Indian recording company Saregama filed a $500 million lawsuit against UMG, Interscope and Aftermath Entertainment accusing DJ Quik of illegally sampling "Thoda Resham Lagta Hai," by Lata Mangeshkar (composed by Bappin Lahrin). Lahiri won an injunction mandating that the Truth Hurts album had to be pulled from stores because his name was not credited on the CD. The suit was settled for an unknown sum.
"Planet Rock" by Afrika Bambaataa & Soulsonic Force is a record whose influence is impossible to overstate. And it wouldn't exist if not for its key samples of two tracks by German electronic pioneers Kraftwerk. Afrika Bambaataa grabbed 1977's "Trans Europe Express" for the simple, swelling melody, and added the metallic rhythms of their 1981 single "Numbers." When Tommy Boy Records released "Planet Rock" in in 1982, Kraftwerk's contributions were uncredited. The German group brought suit, and settled out of court with Tommy Boy.
Bob James' "Nautilus" is a perennial hip-hop sample, used in songs by Run-DMC, Ice-T, Slick Rick, Eric B. & Rakim, Pete Rock & C.L. Smooth, A Tribe Called Quest, Ghostface Killah, Lupe Fiasco, Jeru The Damaja, and Wu-Tang Clan, to name a few. But it was Bob's sweet-ass Taxi theme that SF quartet Souls of Mischief couldn't clear for their shoulda-been hit "Cab Fare" that led to legal action. "They sent me a copy of it and they'd speeded it up so much that it sounded like Mickey Mouse," James told Noah Callahan-Bever. "It made my tune sound silly. So, without even knowing anything about Souls Of Mischief and what they were doing, or what they were about, I said 'No, I'm sorry, I don't want my piece heard that way.'" The oft-bootlegged "Fare" wasn't properly released until decades later on a Hiero comp.
"I lost tons!" said Pharaohe Monch when asked about the uncleared sample of Godzilla film composer Akira Ifukube's "Gojira Tai Mosura" from Monch's Godzilla-sized 1999 hit "Simon Says." Leave it to the philosophical Monch to look at the bright side of not getting rich: "I might've bought a boat and crashed that shit."
Album: The Documentary
Producer: Timbaland
Label: Aftermath/G-Unit/Interscope
Timbaland's taste in exotic samples got called out when Saregama India filed suit over an uncleared sample from a 1967 Bollywood movie. One of India's oldest recording companies, Saregama owns almost half of all the music ever recorded in the country. They were the same firm that successfully sued Dr. Dre over the Truth Hurts record "Addictive" featuring Rakim. But in this case, Tim and Game won the suit.
Album: Ready to Die
Producer: Easy Mo Bee
Label: Bad Boy
In 1977, Westbound Records put out the Ohio Players compilation album The Best Of The Early Years Volume One, including the song "Singing In The Morning" (which had originally appeared on the Players' album Pain). The cover of The Early Years is a photograph of a baby with a blow-out afro. Ready To Die's album cover is very similar. Whether it was samples and cover art inspiration: Biggie and Bad Boy were repurposing the good stuff. But where the photo similarity could be written of as an homage, Easy Mo Bee's six-second sample of the Ohio Players song used on the song "Ready To Die" led to huge legal nightmare. Bad Boy Entertainment, Bad Boy LLC, Justin Combs Publishing and Universal Records were ordered to pay a total of $4.2 million in damages to Bridgeport Music and Westbound Records. A judge even barred sales of the Notorious B.I.G.'s debut album until the case was resolved.
Apparently "Thou shalt not sample without proper clearance" is not a commandment-not a crack commandment anyway. So when the unmistakable sampled voice of Public Enemy's Chuck D barked the digits on Biggie's how-to of rock-slangin', the context of the song repelled the anti-drugs Chuck. The fact of the sampling itself was not the problem (Public Enemy being one of the most sample-saturated groups ever), but Chuck couldn't stand being associated with a song about dealing drugs, so he filed suit in 1998, a year after the release of Biggie's Life After Death. An undisclosed settlement was reached out of court.