Tag Archives: Ashley’s Roadclip

The ’87 Sound : “Paid In Full” by Eric B & Rakim

 

 

Eric B & Rakim’s “Paid in Full” album was at the center of musical change in 1987. The musical, densely metaphorical, Black consciousness allusion-filled rhymes of Rakim, along with the rough and ready scratches of Eric B (and Rakim himself we would find out later), combined with the selective and sparse sampling of producer Marley Marl began to set the Hip Hop world on its side in 1986 with the singles “My Melody”, and “Eric B is President.” From almost the very beginning, Rakim’s precise rhymes rapped in his powerful, calm, but razor-edged baritone would introduce a new concept for rappers, the concept of “Flow”, which is rapping in a musical cadence that accentuates the rhythm and melody of the beat. The sound of Rakim’s voice and the peppy, Funky breakbeats that the combination of Eric B, Marley Marl, and Rakim himself chose for their music would also have far-reaching effects on music outside of the world of Hip-Hop, particularly in the world of dance music. In the very same year M/A/R/S would sample Rakim’s verse from the hit, “I Know You Got Soul” for their “Pump Up the Volume.” And the samples they used for this song, “Paid in Full”, would soon become the basis of dance hits such as “Back to Life” by Soul II Soul and “Girl You Know It’s True” by Milli Vanilli. “Paid in Full” itself is a song that has always captivated me since I first heard it on my brother’s cassette tapes in ’87. Even as far back as that time, my basketball playing brother Herman introduced Rakim as “the Jordan of rap”, and that was before Jordan had won a championship! “Paid in Full” consists of one solitary rap verse over a funky, deadly serious rhythmic groove.

“Paid in Full” begins with a conversation between Eric B and Rakim, shouting out their record label and management team. Rakim tells Eric B he’s “trying to do the knowledge” so he can get “Paid in Full.” The phrase “do the knowledge” comes from the 5% Nation of God’s and Earth’s, an offshoot of the Nation of Islam that taught lessons that were to be recited from memory. It’s just another example of Rakim’s influence, as in the coming years, mastery of Hip Hop lyricism would also include the ability to use the esoteric languages of the Five Percenters as a means of both educating the audience while also taking Hip Hop braggadocio to a new, spiritually based level. This monologue takes place over the foundation of the track, a vicious drum break sample from The Soul Searcher’s “Ashley’s Roadclip”, a pre “Bustin Loose” mid ’70s hit for the Godfather of Go Go, Chuck Brown. “Ashleys Roadclip” is one of those classic Hip Hop breakbeats, and it has a unique sound, a strong kick and snare drum combo given flavor by the way the drummer opens the hi hats toward the end of the bar with a little bit of percussion sprinkled in and topped off by an insistent tambourine. It also has a high amount of reverb on the track. Before the rhyme starts, they kick the bass line in, which is a subsonic version of Dennis Edwards & Siedah Garrett’s “Don’t Look Any Further.” It has always fascinated me that they would use such a recent R&B song for a sample, but Rakim has said that was a song he and many other M.C’s always dug rhyming over in the park jams. And its understandable, as “Don’t Look Any Further” has a very unique for its time, deep dub Reggae style bassline. And then, when Rakim begins his rap verse, a flute spins melodies in the background. All of this signified an extreme street level, Ghetto yet global exoticism the first time I heard it, which would only be intensified by Ofra Hazra’s singing on the remix version.

Rakim mentioned that the title of “Don’t Look Any Further” also inspired the rhyme for “Paid in Full”, which was about a person trying to reform from a life of crime to find a legitimate job. He begins his rap with one of the most iconic lines in rap, “Thinkin of a master plan/this ain’t nothin but sweat/inside my hand.” He goes on to rap about leaving his house to look for work. He says he “use to be a stick-up kid” robbing people for a living, “But now I’ve learned to earn/cause I’m righteous.” At the same time that he goes to look for jobs, in the end, rapping is what will provide for him.

The British group Coldcut were commissioned to do the remix and the job they did is legendary and often heard as much as the original version. Coldcut interspersed cuts from James Brown’s “Hot Pants”, samples from other Rakim songs, and most crucially, Ofra Hazra singing her 1987 hit recording of the traditional Middle Eastern song, “Im Nin’a lu.” Ofra Hazra’s melismatic Middle Eastern singing added a special ingredient to Rakim’s dead serious, Islamic flavored rap that made for a true musical masterpiece with a truly new, Ghetto-Global thematic heft.

“Paid in Full” was probably one of the first rap songs I ever learned all the words to, consisting as it does of one verse. Rakim achieves the incredible feat of telling a complete story in one solitary rap verse. The song itself would be very influential with its combination of a breakbeat, the dub style bass of “Don’t Look Any Further”, and the musical instrument that is Rakim’s voice. In its remix form it was a big hit overseas, opening up the possibilities of Hip Hop music that could incorporate the music of the world. This past summer I attended a Rakim show in Oakland, California, and he let the audience rap the verse to “Paid in Full.” Which just goes to show the influence of Rakim, standing tall as a rapper who made rap sing!

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Filed under Rappin' about Rappin', The '87 Sound, Uncategorized

Music 4 the Nxt 1 Black History Month Edition II: “Ladies First” by Queen Latifah ft. Monie Love

One thing I’m always thankful for is that I grew into my appreciation for Hip Hop in the middle of it’s late ’80s, early ’90s “Golden Age.” Besides the dope funk samples, high tech rhymes and pure fun of the music and images of that era, one of the most valuable things the artists of that time did were strengthen my familiarity, understanding, and appreciation of Black issues. The majority of artists mentioned something in this vein at that time, but of course the most prominent were Public Enemy, Boogie Down Productions, X Clan, and The Native Tongue family. One of the most powerful records from the Native Tongue family was a record I discovered watching the local video music station, “California Music Channel”, with my father, Queen Latifah and Monie Love’s classic, “Ladies First.” This song hit me on several levels, from the smooth way the ladies sang the chorus, to the fresh sample based beat, the Afrocentric attractivness of the ladies rhyming, and the seriousness of it’s divestment era South African aparteid footage, which was possibly the first time in my life I’d seen those images.

After the video opens with powerful images of great Black women like Harriet Tubman, Sojurner Truth, Winnie Mandela and Angela Davis, the beat comes in. The groove is based on a funky drumbeat sample of Bahamian percussionist King Erricsons cover of The Doobie Brothers classic, “Listen to the Music.” The heavy fatback funk drumming is supplanted in this case by the prominent mix of King Erricsons hand drums. It creates a very similar effect to another prominent Hip Hop sample, Chuck Brown & the Soul Searcher’s “Ashley’s Roadclip.” Very soon after the drumbeat comes in, we’re hit by the sweet chorus, a female voice crooning “Ooooh/Ladies First/Ladies First”. The next time around another vocal comes in that harmonizes the first. After that sweet refrain, the music intensifies it’s aggressive funk, as a funky bass line comes in, which will repeat its one bar pattern for the song, and the top end is taken care of by a horn sample of five notes playing a syncopated melody. Latifah kicks in the door hard like Big Daddy Kane, “The ladies will kick it/The Rhyming is wicked/Those that don’t know/how to be pros/get evicted/A woman can bear you/break you/take you/Now its time to rhyme/can you relate to?/A sister dope enough to make you/Holler and Scream”, before she turns the mic over to the super fresh London born M.C Monie Love, one of my great crushes of that era! Monie gets on the mic and spits some super fresh, tongue twisting syncopated rhymes ending with “Let me state the position/Ladies first yes?/Yes.” After another short chorus interlude, Monie comes back rapping another verse, which she ends with “we are the ones to give birth/to a new generation of prophets/cause its Ladies First!” Queen Latifah follows her with a “lyrical freestyle” much looser than the tense rhymes of her first verse, and one of my favorite rhymes in the song is her call and response couplet, “Some think that we cant flow. Monie Love: “Cant Flow? Stereotypes they’ve got to go, Monie Love: “Got to go”. The South African Apartheid footage of the video is intersperesed with Latifah in a darkened conference room pushing giant African fist chest pieces off the map, as well as shots of Latifah’s two B-Girl dancers. Latifah and Monie go on to drop fleet lounged rhymes as the video features other female rappers of the day such as BDP’s Miss Melodie, who was KRS ONE’s wife at that time! Latifah ends the song with a freestyle lyric in a very laid back cadence where she speaks of the songs producer, DJ Mark the 45 King wanting her to “sing”, which she would go on to do later in her career in classics like “Just Another Day” and in her career as Dana Owens.

“Ladies First” made an incredible impression on me as a young dude, to see beautiful Black sisters rhyming so competently and invoking both the history of great Black women in America as well as how that connected to the struggles in South Africa. It did something to me to see all those Black people running from the Afrikaner cops in the days of Apartheid. In one of the great ironies of Hip Hop, Latifah’s rhymes were co written by a member of the Flavor Unit named Apache, who went on to have a hit with a song a few years later called “I want to Gangster Boogie with my Gangster Bitch.” That transition in itself pretty much summed up where Hip Hop went after the golden age, with the same MC who penned lyrics for this song penning “Gangster Bitch.” Apache pretty much renounced that part of his career in the later years of his life though. But no matter, I am thankful that Queen Latifah and Monie Love’s “Ladies First” formed a positive, strong attitude about Black women for me in my formative years. I remember my Dad, who was only impressed with Hip Hop when it was weighty or just so funny it could be enjoyed in a disposable way, enjoying this song on that video show back in 1989, and being shocked by its sophisticated potrayal of Black history and the then current struggles in South Africa. And no matter how far I or Hip Hop have strayed, I’m thankful that songs like “Ladies First” provided my foundation in the music and culture, as opposed to the negativity that often came later.

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Filed under A little Hip in your HOP, All That Jazz, FUNK, Music for the Next ONE, Music Matters