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└┐└──────┘ 19.04.2006
│play in.
artist: J Dilla Jay Dee
album: Donuts
label: Stones Throw
cat: STH2126
year: 2006
genre: Hip-Hop
source: 2xLP
grabber: Audition
encoder: LAME 3.90.3 --Alt-Preset Standard
quality: VBRkbps / 44,1kHz / Joint-Stereo
size: 70,5 MB
link: n/a
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│tracklist.
no. time track title
A1 00:13 Donuts (Outro)
A2 02:57 Workinonit
A3 01:39 Waves
A4 00:36 Light My Fire
A5 00:50 The New
A6 01:39 Stop
A7 01:24 People
A8 01:53 The Diffrence
B1 01:31 Mash
B2 01:39 Time: The Donut Time Of The Heart
B3 01:21 Glazed
B4 01:45 Airworks
B5 01:55 Lightworks
B6 01:01 Stepson Of The Clapper
B7 01:17 The Twister (Huh What)
C1 01:11 One Eleven
C2 01:47 Two Can Win
C3 01:59 Don't Cry
C4 01:54 Anti-American Graffiti
C5 01:20 Geek Down
C6 00:54 Thunder
C7 01:05 Gobstopper
D1 01:18 One For Ghost
D2 01:16 Dilla Says Go
D3 01:15 Walkinonit
D4 01:24 The Factory
D5 01:01 U-Love
D6 01:17 Hi
D7 01:28 Bye
D8 01:40 Last Donut Of The Night
D9 01:12 Donuts (Intro)
total time: 43:41 min
─┐└───────────────────────────────────────────────────────────────────────
│release notes.
Thanks to BPM for the mixed CD release. Here are the loose cuts
from the 2LP issue :)
J Dilla's eagerly awaited Donuts, the follow-up to 2001's Welcome 2
Detroit (released as Jay Dee), is, like its predecessor, a stark
departure from the cozy-socks-and-Xbox feel of his former group,
Slum Village. In fact, Dilla, if anything, is imposing a meta-rap
bent on neo-soul, assaulting the senses in ways unseemly for a guy
who used to work with Q-Tip. The drums, though remarkably fluid,
are lighter, domineered by dense, abrasive samples that are
sequenced with a sense of swing. Percussive end pieces are shorn
cheese-grater sharp, then appended to sickly spliced moans. The end
result is akin to Norman Smith and DJ Shadow sitting in on a
RZA-produced session -- spry, voiceless prog-hop by any other name.
Opener "Workinonit" comes on like a Rubin-produced take on
Schoolhouse Rock. Clang-y guitars give way to doubled-up groans and
what sounds like a back-masked Zulu chant. The sample, supplied by
'60s soulsters Them, is diced with manic precision, and around the
2:00 mark, the melody builds to a climax, fading, with echo-y vocal
bits, into bodiless abyss. Equally engaging is "Anti-American
Graffiti", which combines lighters-up, love-not-war humility with a
track both wistful and world-weary: a crazed voice spouts
end-of-the-world admonishments like some disenfranchised
apparition, colliding with somber guitars.
"Don't Cry" finds Dilla taking sprightly, blu-lite soul crooning
and flipping it counter-cockeyed: "If Blue Magic or Whoever could
see me now!" First he plays the original, then throws in the "Now,
you play it and I'll show you how my voice would have made it
unbelievable!" bit, before gently lifting its face off. It's chest
thumping, to be sure, like the Copa shot in Goodfellas or Bigger
and Deffer. And it's courteous. Similarly cordial is "Time: The
Donut of the Heart", where he turns the Jackson 5's "All I Do Is
Think of You" into a lucid dream -- the song's intro is now with
the chorus it always coveted.
Not that Donuts deals with only obvious sample sources -- "The
Twister (Huh, What)" is the sound of flu-sick flutes chiming in
time to a busted weathervane; "Waves", a hiccuping Hare Krishna
class. It's Dilla's show-and-tell method, however, that's most
effective, because it illustrates how he's, more or less, upgrading
soul music - we get to see how he unpacked its bag, what spots he
told it it missed. This approach also allows Dilla to pay homage to
the selfsame sounds he's modernized; the drums are light, to
reflect the original sound from which he's borrowing. In that
sense, Donuts is pure postmodern art; which was hip-hop's aim in
the first place. As the genius was the simplicity with Shadow, such
genius is in the complexity with Jay Dee - a sonic mural which
unfolds with calculated precision. In passing, he's unwittingly
ushered in a new era for beat conductors. The bar is very high.
R.I.P. J. Dilla!
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keep your mind, your body and your soul open...
peace.
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