By Benjamin Leatherman
By Glenn BurnSilver
By Glenn BurnSilver
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By Roger Calamaio
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By Brian Palmer
Trip hoppers and drum 'n' bass DJs routinely give props to hip-hop for the blueprint of their samples and beats. Rarely is such credit offered mutually, even though drum 'n' bass' staccato beats underpin nearly everything found in the oveures of Timbaland, Missy Elliott or the Neptunes.
Which is one of the reasons that the Jungle Brothers (Afrika and Mike G -- Nathaniel Hall and Michael Small to their moms) are such an interesting and innovative group. Not only do they admit that rap and electronica are closely related, they embrace both genres equally. They first found success combining house and hip-hop with "I'll House You," back in 1988 on their debut Straight Out the Jungle --the track that gave Todd Terry a career in remixing.
The JB's influence is evident in the current stream of positive, Afrocentric hip-hop. And the group is responsible for furthering the careers of some of the sub-genre's best known exponents; Q-Tip rapped for the first time on a Jungle Brothers track ("The Promo"), Queen Latifah, De La Soul and Monie Love all showed up on the JB's second record, 1989's Done by the Forces of Nature. That album showcased the group's diverse amalgam of influences, merging their sampledelic abilities with jazz textures and soulful funk.
Now the duo is well respected and old enough to be called "legends," yet they refuse to rest on past glories or to simply revisit the style that brought them fame in the first place. The pair's soon-to-be-released fifth album finds them again embracing dance culture, but with just as modern a twist as their embrace of house music in 1988. The forthcoming V.I.P. was produced and co-written with Alex Gifford of British big beaters the Propellerheads. Gifford originally asked the duo to rap on a track for the Propellerheads' 1998 debut.
For the always verbose Afrika, the collaboration offered a range of unique creative possibilities.
"After we had gotten turned on to new forms of breakbeat culture and electronica, I was like, 'There's got to be a way to make hip-hop fun, innovative and danceable [that] makes a connection with the dance audience, the club audience, and even the pop audience -- without it losing its own identity.' In the electronica scene we found that there's a strong hip-hop identity," he says. "We recognize that. A lot of other [hip-hop] groups either overlook it or say, 'Oh, that's another thing.' They can't identify with it, they can't see that it's the same breakbeats that we're using -- it's just a different tempo. Mike and I saw that clearly: Here's a bunch of great, not only dance records but instrumental records, with a hip-hop beat and groove in it. All it needs is a vocal. If we could team up with one of these producers, they could almost have the whole song put together and we can just lay our vocal in on top."
The album, is not, however, Fatboy Slim or the Lo-Fidelity Allstars with some rapping on top. The duo recorded the songs, stripped the tracks and then sent them to Gifford to write new music underneath. He takes full advantage of his unique opportunity, bringing in new flavors without intruding on the songs' structures. It's a hip-hop album to be sure, but one with overt dance aspects. The frantic tempo, echoing raps and circular rhythm of "JBeez Rock the Dancehall" hit hard, but flow with equal effectiveness. "Down With the JBeez," one of the few tracks that leans more toward the "dance" end of the equation, still fits in. The Black Eyed Peas guest on the cut, and their jazzy flow meshes with Gifford's uptempo beats and wobbly loops of strings and clavinet.
Even though the writing and recording styles of electronica and hip-hop are similar -- sampling, hunting down beats, tweaking sounds -- the two factions worked in separate style camps at first.
"We went away for two weeks to write the songs. Then we hooked up with Alex and gave him the a capella versions of the songs and asked him to put some music together in the studio," says Afrika. "For like, 65 percent of the record, he was in his space doing his thing and we were in our space doing our thing. Then we came together and re-recorded vocals and recorded new songs together. Everything had taken shape before we really got into the studio. When we got in there we were like, 'Okay, we've got the album, now let's start putting some personality into it; let's try some ideas here for some skits, let's recut this vocal, let's sing this part over, let's touch it up some more.'
"Because he is a musician that knows how to play guitar, bass, keyboards, read music -- there were more resources for him to use than just sampling. There's just one sample on the entire record, everything else was stuff that he worked out on the piano. It was kind of the traditional songwriting style. It eliminated all the 'Let's buy some records and search for some beats and see what we come up with. Let's try this, let's try that.' We just went into the studio with music, conjured up our own vibe, wrote our own songs, handed them over to Alex, and then it was up to him to use whatever resources he had."