Welcome to Run Royal. This site is here to share knowledge, opinions, personal experiences and to connect with like minded heads on Hip-Hop music and it’s culture. Straight shooting the substance without bullshit in between. Think of this site as something like a fan boy talk show, with regular segments, known only here as (Know the Ledge). Our store will provide an outlet to release any product that we are directly involved or co sign with. This will come in due time.
Take a look around and get to know what will quickly become a place of priority when you want an informative and personal look into Hip-Hop and all that it encompasses.
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This month I though id switch it up a little and give the producers a drum break to level things out and see if you can still pick the programming over the sound. I might continue this for future rounds.
Only rules were that both producers had to use the drum break and of course the sample. I’ve picked up a couple of Al Di Meola’s albums over this years, a real mash of Jazz and latin flamenco type shit. Plenty of tempo and signature changes and some experimental stuff throughout, no real reason behind the dig this month other than it being in close reach. I hit up Realizm from Adelaide and local legend, Servo to do their thing. Thanks fellas, you both kilt that shit!
Have a guess below who mad which beat..I’ll reveal the producers at the end of next week.
Queensland representative Dj and producer STRICKNINE has been gettin’itin both locally and internationally. Expect to see a heap of hot new joints releasing in the near future. Right now he’s in New York City filming a video with Queensbridge OG BLAQ POET and putting the final touches on his album with TRAGEDY KHADAFI. Check the write up and track below ‘MODERN DAY GANGSTA’.
Modern Day Gangsta is a verbal threat, a written retaliation to the current state of corruption riddling broad levels of our systems of authority. This wake up call to the passive, launches with TRAGEDY KHADAFI drawing comparison between political domination and ruling in the streets, with the lyrical finesse of a veteran steeped in 30 years of Queensbridge history. KRS-ONE returns as “The Teacha”, educating us on the infiltration of corporate America by gangster tacticians. A.G. (DITC) characterizes one of the numerous victims of police murder with a sombre hostility that draws a firm line in the pavement.
Three of Hip Hop’s luminaries combine over baneful strings delivered in a landscape of energy by producer STRICKNINE (MF Grimm, Thirstin Howl, Blaq Poet) to re-establish a message that is more relevant now than ever before: “I think it’s time we all stand up”.
You’ve probably heard a slew of 90’s NY based rappers over this instro but i myself never knew it was the official Rainy Dayz remix from 96. credited to Mr. Dalvin with coproduction, programming and mixing handled by Diamond D.
Rae and Ghost spit hot bars over Diamond and Dalvin’s masterful use of Harold Melvin & The Bluenotes, You Know How To Make Me Feel So Good.
Well worth revisiting or hearing for the first time!
This one came through the inbox last week. Aside from Calski, I haven’t heard much from any of the MCs to be honest. Impressive stuff. Nice beat with some solid bars and an overall well mastered sound. Looking forward to hearing some more from these guys.
P-Smurf, Master Wolf and Nix spit fire over Calski’s beat, questioning everything on false reality TV and reflecting the general discontent with mainstream media. Nothing is safe.
The legend Chill Rob is back with a new E.P entitled “Chilled Not Frozen” and here is the 1st single featuring R.A. in top notch form. Loving everything about this. The clip is a straight to camera piece, but when you have 2 M.C’s firing like this, keep it simple stupid. Straight up heat!!!!! Get at the release here…. http://www.nobodybuysrecords.bigcartel.com which by the way is a dope site with some crazy releases from Phill Most Chill, A.G. plus more…. Enjoy!
I though id share a little review blurb written by some hip, young upstart, of a show we tore down some 10 years ago. I think from the jump we were out to make the promoters night a cunt. Beside the fact the ticket prices were a steep $20, it was a poor choice of venue to hold a DMC event in the first place..The spot was a well know techno super club. Turns out half the club was shut and all the bedroom DJs and support acts were arse holed to the basement level to pay excessive drink prices and harassed by overweight bouncers.The Thursday night and loss of the sponsorship (if memory severs correct) didn’t help either. In standard fashion we drunk everyone’s rider, demanded more rider as ours was drunk by some ‘other cunts’, stormed the stage and proceeded to invite anyone and everyone to the stage to fuck it up with us. It will go down as one of the most memorable 750 shows, for me.
Here’s her reports…
750 Rebels performed prior to the announcement of winners. They were impressive in the sense that they were a big group of guys rapping in sync on a swamped stage. How the crowd managed to get up there, stay there and whether 750 Rebels were happy with this development remains an unsolved mystery. Not much else about 750 Rebels impressed me. The crowd on the stage were obviously having a GREAT time and the ones on the ground were moved to shuffle a bit (the most active I saw them all night). Either the music was better, or the Tooheys New was finally kicking in. By the end of the set, which seemed interminable, the room was fairly empty.
I really enjoyed and miss the old DMC battles in the early-mid 2000s. The fact, the DJ had to put a decent amount of forethough into their routine, covering the right selection of music, what parts to play and when was/is an art in itself. What records they were diggin, borrowing or stealing and playing on the night to get an original concept across to get the crowd Gd up was a big thing for me as I’ve never really learnt the technical shit on the decks other than blends. Some kid could use his fucking elbow to scratch a record but if that shit sounded wak it sounded wak but I could always appreciate and see the merit for some of the tricks and showmanship involved with some of it.
Big up to the DJ’s out there putting out live mixes and doing their thing still.
Stretch and Bobbito explores the social impact of what the Source Magazine in 1998 voted, “The Best Hip Hop Radio Show Of All-Time.” The documentary film is the story of quirky friends who became unlikely legends by engaging their listeners and breaking the biggest rap artists ever.
During the 1990s, Stretch and Bobbito introduced the world to an unsigned Nas, Biggie, Wu-Tang, and Big Pun, as well as an unknown Jay-Z, Eminem, Fat Joe, and the Fugees. The total record sales for all the artists that premiered on their show exceed 300 million. Stretch and Bobbito created a platform that changed music forever.
Stretch & Bobbito’s musical merits were only half of the story, though. Their show had a cult following in the art/fashion world and prison population. All would loyally tune in for the offbeat humor just as much for the exclusive music. Stretch and Bobbito brought a unique audience together, and inspired a movement.
Unfortunately, Stretch and Bobbito eventually parted ways, ending a landmark run that the NY Press once regarded as, “The Best Late Night Radio (All Genres).” In 2010, they reunited for a 20th anniversary broadcast, which rated as the #1 Twitter topic. Their impact is still felt today.
Summer 2015 release
The accompanying cassette
This month for our 10 seconds sample time segment I reached out to one of our country’s pioneers, Melbourne’s Trem one to get his insight and perspective on production in the culture.
1. What was your first piece of equipment you made a beat on and who taught/mentored you?
As far as actually makin a beat? I first started playin round with two boombox’s speaker to speaker recording the break part of old school rap tracks usin’ the pause button method, then elevated to recording break-beats on wax when i got my 12’s and started seein’ how it worked. Eventually my eyes opened up to actual sampling thru my old homie DJ Frenzie and then DJ Idem. Idem’s weapon of choice back then was a Roland W-30 which seemed to be the stock selection for many Melbourne producers.
I ended up buying Prowla’s old W-30 not too long afterwards when he upgraded to the Akai S-1000 and cut my teeth on the art-form of sampling at home with that 8bit grit. Id been in a stack of sessions with all those guys looking and learning but Prowlz was definitely responsible for running me thru the extended process in detail so I could go about my business unhindered. As it turned out Rob and I ended up with his S-1000 as well and that was when I really started motoring on with production and started to formulate actual tracks.
Although as every producer knows, self teaching is part of the fun, the schooling I received from some of Melbourne’s greatest in the game was invaluable. Frenzie, Idem, Prowla and Jase all played hands on mentoring parts in varying degrees.
What’s your current weapon of choice for knocking something out?
I switch and change, I’ve used all from the W-30 to S-9, S-1000, ASR, MP and FL Studio… To be perfectly honest I’ve recently had a lil hiatus from the beat making game to focus on other aspects of the production process but in the lab at present is the trusty S-1000 for sampling. Sequencing wize I use Nuendo for all tracking from beat stems to vox.
3. How did you approach FTTOHNL from a production point of view in comparison to your previous solo ep’s which where such a long time ago…Did you dig back through the vaults for some beats or just mash out over a set time period and knock out a specific sound that you visualised.
It was a combo, my initial idea was to self produce the entire thing with the exception of one or two, but alot of the beats I had in the vault for my solo ended up getting used on crew product and I moved a couple others on to artists I thought they suited. Then my direction switched a little with the release as it progressed and I wanted more external input from the producto side of things. I guess that was a bi-product of me mentally transforming back into emcee mode.
The process took as long as it took to write the album, I legitimately sifted thru hundreds and thousands of beats from all over to fit the mould of what I was keeping of my own and to bring into the same frame as what was already established for the
4. Last production I heard from you was on P-Link’s – In my Element and the latest being from Kings Konekted – The Campaign. Are you very selective about who you give/sell your beats too or will we see more production from you, outside the circle you’ve already worked with?
Yes and know, my biggest bug bear is not having control once you let go of the production. Id rather work an entire release, even if I didn’t make the beats for every track, Id want to be involved in the whole thing to ensure the vision is executed correctly. I’m a little control freakish with that sorta shit, I hate hearing releases with varying producers and it’s all over the shop. It’s really gotta be conducive or it just comes off amateur. This happens way too much. Learning what suits your style and spending that extra time in getting your beats to all sit on the same plain is paramount in my opinion
5. I like your simplified approach to your beats with the intent for the MC to be the front man. How do you flip your samples without things sounding too overdone.
Cheers man, yep, no tricks. Straight up and down. I have alot of appreciation for beat makers who get flexi with it but unless your doin some instro only type shit Id much rather keep it reasonably simple for the MC to go for theirs. Drums are paramount, no doubt but it’s ALWAYS been the loop that gets me, from a dope double bass loop to some ill strings or nasty piano licks, when you hear that 1,2 or 4 bar loop that just makes you put your drink down and go what the fuck was that, rewind, that’s the shit. You know when you can just have it on loop with no additive for hours, that’s what I look out for first and foremost
6. Incredible production but the MC let it down. Name a track or album like this
Ohh, yeah, nice question… its a hard one…Id love to join in the chorus of many and say Group Homes first or Necro but they both really work! Fuck, this is hard… I’m sure I’ll think of something that fits this question better but off the head, without going thru the stash, U-God on most early Wu comes to mind.
7. What do you think gives a producer a signature sound, how much do you think equipment/software and sample selection has to do with it over their processes used.
I think it varies, and has done for ever. Ced Gee had the ill drum programming, Marley had the ill soul loops. RZA work them off time pianos and Preem made classics with half bar rawness on repeat. Any and all achieved greatness with varying record selections and equipment. From splicing samples with reel tape to SP12’s and MPCs, its all relevant. I think the signature just comes with mastering whatever works for you.
8. Name a track/album or producer that changed the way you approach your sequencing/sample chops.
Fuck… Yeah another good one, um… I can’t really say I’ve changed my shit since the beginning. I’ve never tried to re-create the wheel, that late 80’s to early 90’s style is what i adapted and continue to build with.
9. If you had to pick it based of critical acclaim and longevity who would you pick out of Dr Dre and DJ Premier and why?
Preem for mine on all accounts. I hate to sound blasphemous but since NWA Dre’s shit hasn’t done alot for me. Some cool shit here and there no doubt, but I’d take that rawness over the polish all day and Primo has perfected it.
10. How would Sheer Talent sound in 2015.
I think beat wize it would stand up. I think lyrically it needs a little refinement, but the body is still there. I think the vocal delivery and overall mix needs a shitload of work but that’s a part of the learning process. It is what it is. But I’d take the pepsi challenge on the instros for sure, that shit still bangs…
Looks like everyone was bang on in picking this round. Great mix of styles and chops, I could barely pic Rob’s flip! sheesh!
Thanks again for everyone involved..Most likely we’ll be skipping a round this month but we’ll be back in June for the round 8.
Should give us a little more time to come up with something to test the producers a little more and work outside their comfort zones.
The sodden cunt of a man, Billionaire Bunk$ is back like herpes from a weekend with a cracker in Bali. After the somewhat success of Booze Bastards, he come’s through stroking the felt and pissing on cunts Nikes as one would expect. I’m not sure what’s better here, the adlibs at the front and back of the track or the witty puns laced over a classic break. Either way, I’m looking forward to hearing more from this dribble dick. Smart with the word play, he kind of reminds me of our own Sean Price in a way. Top stuff Bunks!
This month we tried to get a bit of a Christ theme happening over April with Easter and all. AkidcalledChubz didn’t hit us with the obscure uptown gospel joints but he did come through with a deadly OST. The soundtrack to the film, The Cross and the Switchblade which was based off a book from the 60’s about a minister who turns around the lives of NY gang members life through Christ…That was the Easter link and we ran with it. Decent soundtrack, Chubz had a couple of tracks to choose from but I though this one would be the most interesting to flip.
Was great to see how these three utilized and approached the sample differently, giving some pretty varying results. All heaters in their own right. Shouldn’t be too tough to pick this round. Cheers to all involved. I’ll reveal next week sometime. Enjoy.