MOVE THAT DOPE PHARRELL MOVE THAT DOPE

Written by Daniel Montesinos-Donaghy (@danielmondon)

Nothing should be fascinating about Future’s “Move That Dope”: it’s a gathering of the adored but overexposed (and Casino), produced by the adored but overexposed Mike Will Made It and given a boilerplate title. It slithered out with little certainty of its final destination and an abundance of questions in its trail: Will this even end up on Honest? How many incarnations has the album gone through? Does Casino’s throat not hurt from yelling like that all the time? Yet it’s a fascinating song and as a posse cut a bonafide moment of high class thievery on the part of Pharrell.

Future’s professional relationship with Mike Will must give him top dibs, as the Dungeon Fam representative was offered a stunner here: a distorted and desiccated Mob music elastic bass accompanied by that unearthly Mike Will low-end. As always, Future knows how to occupy the track, but it’s rarely evident on his unfiltered verse. He’s nimbly rapping in triplets, hopscotching over each bar, yet there’s no push to experiment with his voice as per usual. The resurgence of the triplet flow in Atlanta rap seems like a particularly post-Future move, so here is the anomaly of the week: Future doing a post-Future style. But on the hook, he’s black magic: Salt N Pepa routines floating from ear to ear, given malicious intent—a sexualized purr turned into a villainous mantra, like a snake possessed to deliver biblical wrath. Meanwhile, Pusha (on otherwise standard huff’n’puff duty) unsteadily cackles creating the audio equivalent of the eyeless My Name is My Name cover.

And still, Pharrell runs off with the entire track. Back in the mid-Noughties, people derided his appearances on Re-Up Gang mixtapes, dismissed the bougie-turnup of In My Mind and thus formed the consensus that Pharrell was a bad rapper. But Pharrell was never a bad rapper! Sure he jarred on the gulliest of Re-Up tracks, but that was more to do with his eccentric delivery and word selection. He was the odd one out amongst those hungry punch-line rappers by dropping impromptu Das EFX tributes and shaking his head ruefully at “carving” a man alive: “That’s fucked up, that shit gets to me.” Elsewhere, he evoked chinchillas in the heat of battle, ostrich trainers, treated life like blue magazines off the top shelf, “Willy Wonka décor” and out-weirded Wayne on a series of unreleased mixtape tracks while shape-shifting into a Native Tongues Juvenile. Like a lot of things Pharrell did in the middle of the previous decade, it was odd and a little ahead of its time. (I guarantee you, if In My Mind never existed and some New Jack rapped “baby born baby dies it’s clear as Peru” we would be losing our minds.)

He gets the third verse on “Move That Dope” and runs through the damn thing shifting gears from clearly enunciated to slurring and from clipped vocals to loosey-goosey elongations. It’s lyrical metamorphosis, the verse equivalent to Pusha and Future’s weirdo horror-house noises on the hook. And he drops a barrage of weirdo wordplay with great élan, amusingly arrogant in rejecting the song’s villainous thread as he damn well pleases: “all these drones!” “gee, nigga,” “Gandalf hat,” “all that war we need to let that go,” “twenty girls doin’ yoga naked” and most appropriately “ol’ Skateboard P / that’s the one you been missin’.”

Been Around Mike Will’s World

 

Written by David Turner (@dalatudalatu)

One day a band is gonna name their band “Miley’s Tongue,” for the way that single muscle caused a disproportionately high amount of mainstream scrutiny and ire. Ignoring the “PUSSY MONEY WEED” persona swiped from Rihanna, so much of Cyrus rebellion can be found in her tongue. A physical middle finger that cannot be censored no matter what it might provoke in the public. The sonic master that gave Miley this new musical foundation to craft this persona was Mike Will Made It. A person whose persona never sees a need to stick his tongue out, or really stick out in any way, except that he holds the Pop and Rap worlds in his palms.

His late 2013 mixtape, #MikeWillBeenTrill isn’t a victory lap of success or even a preview of his future, as much as an introduction to the Atlanta producer’s disparate musical sides. The tape features: Country-Mike Will (“My Darlin”), Post-Linkin-Park-Mike Will (“Where You Go”), Three-Six-Mike Will (“Be A G”) and even Windows-Down-Block-Beating-Mike Will with “Shit Megamix” and “Fork.” There is a kind of warble and stutter that permeates and would allow one to know the guy behind “No Lie” did “Be a G,” but the tape proudly enjoys its lack of uniformity.

About a third into the tape, he takes a trip back to his old days working with Gucci Mane on “East Atlanta 6.” Beyond Gucci’s brilliant sense of humor there is little show of talent that has vaulted Mike Will to the top of the rap world. The Atlanta producers working with Gucci at that time all had diverse styles whether it was the OG trap of Shawty Redd, the post-Mannie Fresh electronics of Zaytoven, the WTFness of DJ Speedy or even the lumber of a Drumma Boy. Mike Will back then wasn’t quite there.

Pharrell, who also shined in 2013, with “Blurred Lines,” “Happy” or “Feds Watching” were all tracks that held within the range of his lone solo album, In My Mind, or even late 90s/early 2000s work in the Neptunes. Despite the idea of coming back, Pharrell didn’t comeback, as much as the Pop world came back around to his singular sound. #MikeWillBeenTrill shows that as a producer Mike Will hasn’t congealed down into a Pharrell-like overall sound. That lack of precision increases the dynamism of the tape, as the sonic palette of songs leaps from one extreme to the next.  Future’s solemn “Wolf” transitions to the abrasive Trap shit of “Fork” showing Mike Will as a producer whose beats mold around particular artists rather exist singularly as factory line produced units.

At one point last summer, Mike Will tweeted about releasing a solo project called #FuckVerses, which thankfully has not yet materialized. His beats aren’t malleable or interesting enough to stand alone, like an Araabmuzik or Clams Casino. 2 Chainz’s booming voice builds up “Where You Been,” and the weary of “Against All Odds” cannot translate without Future’s sorrowed croon. And the same way “Wake Up No Make” by Ciara and “We Can’t Stop” by Miley, were originally Rihanna tracks following “Pour It Up,” Mike Will’s original tracks for the artists, Ciara’s “Body Party” and Miley’s “My Darlin,” play more to their musical strengths rather than forcing out their best Rihanna impressions.

That artist awareness is what makes “Shit Megamix” worth multiple listens despite its 12 minute length. The original “Sh!t” was a classic lurching Post-Luger beat with Future doing his best post-rap howling, but Mike Will morphed the track into a classic 90s Three-Six track for Drake and Juicy J, and retooled it again into an early 2000s Crunk track for the Atlanta All-Star remix that included Pastor Troy. It’s a really music nerd remix of a song with a hook that throws out variations of “Nigga you ain’t pop shit” ad infinitum. That might be why Mike Will doesn’t, yet, sit with a singular sound, a-la The Neptunes or Timbaland, he’s still a sound synthesizer and figuring out what to distill.

12 Producers of ’12


12 Producers to keep an eye on in 2012

It’s hard being a producer in this day & age; the barrier for entry is low and so are the financial rewards, while competition is high. Many times tracks are mis-tagged or the producer is unidentified. And the need to churn out constant material means that it can be hard to rest on a distinctive style without burning out. There’s been no shortage of talent in the industry, though; for the past 12 months, these 12 beatmakers proved that they had the unique vision to stand out in a saturated market. In no order, these are the SoManyShrimp 12 for 2012.


The Beat Bully
Beat Bully productions are as identifiable and easy to spot as anything from, say, Lex Luger, but there’s a crucial difference in how the beats work. Where Luger beats can often swallow and overwhelm the MC, taking on a life of their own, Beat Bully’s work often drives the song from within – there is a powerful and melodic, if not quite understated, engine. His two signature productions – “House Party” and “Stay Schemin’” – are perfect examples. On the former, Meek Mill is energized by the insistent, excitable beat, and it’s the source of the song’s irresistible energy. On the latter, his ascending keyboard notes give a narcotic, paranoid song an underpinning of triumph. –Jordan Sargent


Cardo
Cardo first gained name recognition with the rise of Wiz Khalifa, but despite being a key contributor to Wiz’s best material — he produced “Mesmerized” from Kush & OJ — he hasn’t quite had the same meteoric rise, instead working a steady grind for artists like Curren$y, Dom Kennedy and Killa Kyleon. Despite getting his start with Pittsburgh artists — some of his earliest work was for Kev the Hustla — he’s mentioned numerous times that some of his biggest influences were West Coast rap producers; he singled out DJ Quik in particular, even releasing “Cardo’s Groove”, a solo instrumental in the “Quik’s Groove” vein. Perhaps his best work this year was throughout Freddie Gibbs’ Cold Day in Hell, which perfectly exemplified how his style is first and foremost about creating a mood, leaving auteur-like self indulgence that plagues so many other producers as an afterthough. –David Drake


Chuck Inglish
I’ll be the first to admit that the Cool Kids were not for me when they first appeared on the scene. The production had a novel style, but it seemed, lost in the waves of hype, somewhat amateurish and not quite fully developed. It’s been four years in the interim, and while Chuck and Sir Michael Rocks may not have the same shock-of-the-new appeal, it’s become readily apparent that they’re committed musicians with an ear for music. As a producer, Chuck is a particularly unique artist, from his work on Boldy James’ debut to his solo beat tape WRKNG to his highest profile placement to date, “Party Heart” on Rick Ross’ titanic Rich Forever. Chuck has proven himself as a genuinely creative producer with an ear for novelty now matched by craftsmanship. His feel for space and stop-start rhythms give his tracks a unique groove that recalls not just the instrumentation of an earlier era, but a rhythmic style that had been seemingly left behind as well. –David Drake


Doe Pesci
Lloyd Banks ‘Cold Corner 2’ was an unheralded release in 2011. The production throughout was first-rate, but it’s the middle section (“Make It Stack” through “Jokes On You”) that really pushes the record into stand-out territory. Those four tracks were produced by G-Unit producer/engineer Doe Pesci, and they do a good job showcasing his talents. His staccato’d drum patterns are the first thing you’ll notice; they have a restrained feel that evokes a dirtier version of mid-period Aftermath-era Dr. Dre. He uses keys/synths in a fresh-yet-familiar fashion, with simple menacing riffs that come in and out, lending just the right amount of melody to an otherwise sparse template. He’s definitely a follower of the ‘less is more’ train of thought. Doe’s approach gives the G-Unit sound an eerie quality, while retaining its sonic pallet. –Scott M.


FKi
To start 2012 off on an interesting foot, Fki have released a mixtape through Diplo’s label Mad Decent. For those unfamiliar with the duo’s work, the first single “I Think She Ready” — which is produced by FKi, Dereck Allen, Diplo, and Hereos and Villains, and includes a verse with Iggy Azalea — might not inspire too much confidence in the tape. But knowing about the group’s catalog should allay any concerns. FKi has worked primarily with Travis Porter, and are responsible for the Porter Boys biggest hits, “Make It Rain” and “Bring It Back”. These songs are great dance-first minimalist productions, that, even with Lex Luger sounds ruling Atlanta, will always have a home at clubs and dance parties. But if you’re looking for variety, then give a quick listen to the few tracks they produced for Soulja Boy and Young L’s recent mixtape Mario & Domo vs. The World. “Ones” and “Im Good” sound like 8-Bit remixes of the Dem Franchize Boys’ “White Tee”, with a healthy amount of 808 drums thrown in for good measure. –D. Turner


Harry Fraud
In trying to come up with a way to aptly describe Harry Fraud’s sound and appeal as a producer, one word comes to mind – EPIC. Everything about Fraud’s sound is larger than life. From the anticipation-building “La Music De Harry Fraud” drop to his hard-knocking drums, he is a master of the art of the anthemic rap beat. A lot of this can be credited to his choice in samples – stadium rock tunes, western soundtracks, and classic soul make up the unconventional Harry Fraud sonic palette. One of his best beats so far, French Montana’s “We Run New York,” is a prime example of his aesthetic – the classic NY sample-based sound turned up to 11, with a massive recurring KRS sample, hard rock guitars and walloping drums. His partnership with French Montana is also one of the most exiciting rapper-producer team in rap at the moment. –Tyrone Palmer


J-Green
Last year, J-Green released two mixtapes (Codeine Dreams & Da Caper 2) that slipped under a lot of rap blogger radars, despite the revival of Memphis rap sounds. As a producer, J-Green certainly wouldn’t exist without old Memphis tapes. He heavily samples from classic Three 6 Mafia songs and rebuilds them into scary Franken-songs encompassing about 2 decades of a city’s rap music, often in just one track. Green has expressed interest in working with Waka Flocka Flame, and while it would be great to hear Waka over songs like “Weed, Pills, and Promethazine” or “Smokin’ Blunts,” Green has another approach that is even more promising. “Cocky” by DJ Paul is a far more interesting side for J-Green, one that DJ Paul has named “Dub-Hop”. It’s a fusion of dubstep and classic Memphis fight music that sounds weird on paper, but makes for a strangely logical combination of hyper-aggressive musics, and is a very promising movement for J-Green to attach his name to. –D. Turner


Mike Will
In Mike Will’s take on the trap rap sound, the difference is in the details. While everyone else chased Lex Luger, Mike Will took his cues from Drumma Boy, crafting atmospheric, multi-layered trap bangers. Take, for instance, his beat for Rick Ross’ “King Of Diamonds.” On the surface, it sounds like your average post-Luger trap beat, with blaring horns and drum rolls. Underneath that, though, there’s a propulsive, atonal symphony going on that acts as a counterpoint to the trap horns. It’s these small sonic details that really set him apart. It is telling that his recent mixtape Mike Will Made It Est 1989 contains verses from all of the hottest rappers right now – 2Chainz, Future, Jeezy, Gucci, etc. – yet Will outshines all of them. And at just 22 years old, there’s still room for growth and improvement. Clearly, he is going to be one of the defining producers of the next few years. –Tyrone Palmer


Rashad
Stalley’s Lincoln Way Nights didn’t strike me immediately; if it wasn’t for the understated production work of Columbus, Ohio native Rashad, I’m not sure I would have come back to it. Stalley is a serviceable rapper who is coming into his own, but it was the mid-tempo boom and sheen of the beats that really elevated the record. Rashad, a self-proclaimed kid prodigy, signed a record deal as an R&B singer at a young age (he even contributes vocals on a few Lincoln Way Nights tracks). Lincoln Way Nights was easily one of the best *sounding* releases in 2011; the bass was perfectly clear and refined, he’ll often add a tuba stab to the bass kick, an unusual twist. As a producer, he cites DJ Quik, Premier and Organized Noize as a few of his influences, and it’s easy to see the subtle mixture of those artists alongside his R&B roots. He has a knack for strong melody like Quik, a penchant for perfectly-timed horn stabs over dusty breaks like Premier, and the overall vision of Organized Noize. Most importantly, he has the attention to detail common to all three. For this reason, you’d have a hard time pinning his style to any zip code; it lives in a world of its own. –Scott M.


Supa Villain
Rich Boy may still be looking for that next hit after the classic “Throw Some Ds,” as Polow Da Don continues to work with the upper crust of Rap and R&B. But luckily, he found a more-than-acceptable replacement in Supa Villain, whose dreamy trunk-rattling production has resulted in some of Rich Boy’s best work. “All I Know” slows up the usual production elements, allowing the listener to better appreciate the powerful keyboard melody and subtle drum programming; “Gwap (Remix)” evokes a similar late-night mood, with a solo guitar line that perfectly soundtracks a long solo ride home at night. Earlier this year, with DJ Burn One, Supa Villain released a new mixtape entitled 40 Acres and a Muller, which continued his string of strong-quality mixtapes. Last year, Juvenile hopped on “Stop Traffic,” and through Twitter Supa Villain has made some cross country connection with Cousin Fik, so hopefully his production can start to spread beyond small regional rap blogs and Gulfport, Mississippi. –D. Turner


Tree
Tree may seem to have risen from nowhere, but he has in fact been creating music with Project Mayhem for several years. The Cabrini Green-raised rapper/producer considers himself a rapper first and foremost, and thus far has taken one of the more unconventional paths into the rap industry; he’s worked with rappers from Illinois to Florida, releasing EPs with friends and solo that offer just hints of what his organic, lo-fi masterpieces can really do. Everything from his rap style to his hustle to his methodology to his sample sources seem to go against the grain. It’s hard to argue that Tree is anything other than a genuine original, as adept at channeling emotion as creating truly unique art with a highly personalized sensibility. –David Drake


Willie B
The Black Hippy crew have got a good thing going. All four members had solid-to-great releases in 2011 and they are quickly building a loyal, deep-rooted fan base. They seem to be wrangling fans from all sides of hip-hop. They have engulfed themselves in a unique aesthetic by hiring a stellar in-house production team. These producers all have their own varied stylistic lanes, but when the tracks are placed next to each other in an album format, there is a comforting uniformity to their sound. Producer Willie B is one of the standout beatmakers on the team. A few of his best tracks include Kendrick Lamar’s “Rigamortous” and “Ignorance Is Bliss,” Jay Rock’s “No Joke” and “I’m Thuggin,” and ScHoolboy Q’s “Kamikaze.” The wide variation within that sample set of songs alone shows his extensive range; he can go from a beat fit for a mid-90s Westside Connection record to a melancholy, jazz-sampling soulquarians-esque slow jam, and anything in between. His beats seem to rise and fall, to swing rather than dip. –Scott M.