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J Dilla - Jay Stay Paid
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| Tinymixtapes |
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The late J Dilla is so widely and publicly revered in the hip-hop world that first reactions to yet another posthumous release have yet to go all the way from “yeah, yo” to “uh oh,” but the stack of jewel cases is getting pretty high. In fact, the ratio of material released before and after Dilla’s untimely passing at age 32 is getting so wobbly that the press sheet makes sure the first thing you know about Jay Stay Paid is that it was put together by Pete Rock and Dilla’s mom, not some Tupac-style money grubbers. And Rock is the ideal man for the job: a progenitor and, later, booster of Jay Dee’s production style, he structures the disc like a radio show mix and tosses in a few asides himself here and there from the DJ booth of KJAY FM. The whole disc is heavy on woozy synths, which is especially solid on “Digi Dirt” (featuring Phat Kat) and “Mythsysizer,” and of course that trademark slow-rising siren wail is always rearing its head out of the murky depths in the background. Most of the songs split his usual style somewhere between soul jazz and spaced-out funk, with wonderfully weird results on Frankenstein standouts like “Lazer Gunne Funk,” “Milk Money,” “On Stilts,” and “Coming Back.” Most of the best moments stick to the funk, though, like on head-nodders “Glamour Sho75,” “10,000 Watts,” and the stupendous “Make It Fast Mega Mix.”...full text |
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| Pitchfork |
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Dilla will always be with us. I don't mean that in just the spiritual sense, or in the way that people are going to be feeling his legacy for a while, though god knows I must've reviewed a dozen albums over the past year that were either in tribute to him or featured some of his beats or both. What I'm talking about is that he'll always be with us in the sense that the amount of material he recorded over the decade-plus before his death was completely overwhelming. When Los Angeles blogger and music journalist Jeff Weiss interviewed the Pharcyde back in May, Imani mentioned that when Labcabincalifornia was being recorded, Dilla gave them "hundreds of beats" to choose from. And since Donuts became the last album issued in his lifetime, it's been followed by a flood of releases-- sanctioned and otherwise-- that've raided his archives and spilled forth a flood of previously-unheard detritus that rivals the early-1970s post-mortem output of Jimi Hendrix. Sadly, not all of that detritus has resulted in James Yancey's bills getting paid. His mother's been infamously entangled in rights issues with the executor of Dilla's estate, who has blocked the releases of more than a few projects that might've helped his family financially and brought some of his vault material to light. But Jay Stay Paid should hopefully circumvent that, since it puts a new piece of Dilla's musical legacy in good hands and creates a life-spanning statement in a way that previous memorial assemblages like 2006's The Shining could only hint at. Jay Stay Paid isn't a cash-in piece of vulturework, but a labor of love executive produced by his mother and assembled, arranged, and mixed by Pete Rock, one of Dilla's greatest influences. You couldn't come up with two people more qualified to help turn the DAT-stored scraps and sketches of Dilla's ideas into a full-fledged work of art....full text |
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| Allhiphop |
| When Lupus silenced J. Dilla on February 10, 2006, Hip-Hop lost one of its most influential, yet, highly underrated producer/rappers. Often called, “Your favorite producer’s, favorite producer,” James Yancey was a product of his environment. His mother, Maureen Yancey, has recounted often how a three year old Dilla would sit at his little record player listening to James Brown over and over again. His innovation as a crate digger and affinity for making old songs new again led to Dilla’s status as one of the most gifted sample using producers in the game....full text |
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