Donuts: The Leftovers [from the Top 10]

Without even seeing responses to the recent “Top Ten,” we can already see the outrage of why so-and-so isn’t on the list. Of course, your favourite Donut isn’t on the list and you are mad and that automatically makes the rest of our list void, correct? Yeah, sure, whatever. Anyways, take that as yet another testament to the beauty of Donuts. I mean, I walk into Tim Hortons and grab a Boston Cream or a Sour Cream Glazed, but the person right behind me will grab a Honey Dip or an Apple Fritter. The donut in this case for J Dilla seems to be of symbolic nature, in the fact that you may not like this one, but you’ll like this one; alluding to the notion that one that stands out as your favourite will be someone else’s least desirable beat.
With that said, there aren’t too many “bad” beats on Donuts. In fact, from a technical and musically aesthetic point, they are all of high skill and relevant value. Some tastes won’t match up. This is different than, let’s say a Top 10 MC list where particular attributes and accomplishments may define the character at hand. Donuts intends to provide the listener with a variety of flavours, and from this batch of 31, surely some will stick out for better or worse. We present to you, the leftovers.


Donuts (Outro) – Having the “Outro” at the beginning was something I always pondered about with Donuts. I guess it was an early slap in the face that, really, this musical experience was going to be unlike any other.

Waves – The titles of these Donuts kind of set a prelude for the actual song, and also set the tone both orally and visually. This is certainly the sailboat-song equivalent to “car-cruising,” simply because it is such a relaxing, smooth flowing harmony throughout. It’s not the most challenging Donut, but is undoubtedly has its own ripple effect.

The New – This isn’t really my favourite Donut, for a few reasons. The Beastie Boys sample is used quite a bit now (but, even 4 years ago I never dug this), and while the horns are hypnotizing, part of me wishes that even in the 50 second display, the horns would have a quick change up. Fortunately, though, it slides quite nicely into “Stop,” and it works as a great “introduction” to the song.
*Editor's note, No youtube video

People – The drums are thoroughly addictive on this Donut. It has that junglistic aesthetic to it that we see Madlib use quite a bit. When that drum picks up (around the 10 second mark) the interest peaks and then J Dilla’s got you hooked. Mesmerized by the drum? Sure, don’t feel dumb (contrary to Masta Killa’ claim on “Triumph”), we all got hooked.
*Below is the original sample.

The Diff’rence – As a diehard Premier fan, I became entranced by the use of the piano sampling in hip hop. It’s easily one of my favourite instruments. When the horns kick in is when “The Diff’rence” gets really exciting, but still, the first minute is calling out any emcees to tear into this one. This beat is J Dilla being the masterful producer he is, providing a canvas for his emcee, then taking the spotlight role on what could be a bridge or chorus. This is definitely a tasty treat.
*Below is the original sample.

 

Glazed: Those horns, man. They are absolutely ruthless. You know how Pete Rock made a living off of his horn usage? J Dilla seldom used horns, but when he did, like on “Glazed,” they are pulsating, climactic throughout, and show stealing. Of course, the messages "wake up world" chime in throughout the track, and how could this alarm-clock-esque beat repetition not be one of the best donuts to rise up to, literally and metaphorically? 

 

Stepson of the clapper: Everyone has heard these samples before. The “Long Red” yell (thanks Kanye West, you've used it enough) and of course, the "clapper." This particular Donut doesn't do anything extraordinary, but damn, it allows you to appreciate those drums; those hard hitting, career defining drums that hit the soul like a fruitful thanksgiving dinner. It truly is a feast of thump and boom and pound.
*Below is the original sample.

The Twister: Huh, what? Yeah, this one gets loud and in your face. It is relentless in causing mayhem, but it is true to its title as it shifts from the Stevie Wonder vocal to this whirlwind of insane sound. Once again, listen to those drums, that pattern and cymbal figuration is magnificent. It's a simple pattern, but how it is done in such a crisp matter? That's the secret of the recipe.
*Below is the original sample.

One eleven: For some odd reason, I can hear the vocals on “Fu*k the Police” fitting perfect in here. Yeah, Rapper Big Pooh was nice on it, but this is another Donut that is aching to get artist collaborating on it. It seems to develop ever so subtly without really changing at all. Just a small change of the violin sound, a vocal drop here and there, and things seem to change drastically, without changing at all.

Don’t Cry: This Donut is one of those long-walk-home in the rain joints. When it begins picking up around the 40 second mark though is when it really begins to hit home, especially with the split second clips of what J Dilla gets to sound like “baby.” Well structured, well executed, and well compiled. This is typical J Dilla. No complaints here.

Anti-American Graffiti: Yet another Donut I just can’t come to gripes with. I appreciate its aesthetic value and it would make an absolutely perfect interlude or skit on an album with some depth, concept, and heart.

Geek Down: The “UFO” sample is used quite often, but here it seems like such a natural fit in. Like many of the Donuts, there’s a cinematic feel to it. This would be perfect in a Quentin Tarantino flick, but for musical sake, the unsettling electric guitar quips in-and-out are quite timely and profound. Ghostface certainly did this one justice.
*Below is the original sample.

Thunder: Not an overly complicated beat at all, but that dark piano is the type that illuminates that trouble is afoot. Here, I’m thinking “Keep it Thoro” alongside “All 4 the $,” but in a really distinct manner. Part of being a great producer is knowing what to not touch, add, or change and here, J Dilla does the right thing by letting the piano loop do all the work. There aren’t even any hard hitting drums to back it up, which is marvelous and slightly daunting.
*Editors note, no youtube video

One for Ghost: The title alludes to “Whip You with a Strap,” the Ghostface Killah gem that perfectly tells the story of his mother beating him out of love. Frankly, Ghostface lyrically says what the beat speaks to audiences, as well. If you ask me, the alarm horns throughout kind of ruin the sentimental and somber moment of the beat, but aside from that, the song is an artistic work that is simple and blunt about what it wants the emcee to talk about. This is J Dilla taking control of the song right from the get go.

Dilla Says Go: This Donut is similar to “Waves” in that it has a pace that it sticks to and really glides along as it sets out to do. It’s not out to snap necks or to cause ruckus; it’s a perfect beat to just sit back and vibe to, as is. It is the subtle additions are wonderful, and how they contribute to the song is what makes it such a delicate and fine product. It’s a perfect beat to really display the love you have for hip hop on, and with that said, this beat should be handled with care (as Talib Kweli did on “Kweli Says Go”).

Walkinonit: The lyrics “broken and blue” chime throughout this Donut over simple and soft strings. This is a Donut that screams out reflection and disturbance. With that said, the scratching and adlibbing seem out of place and a little un-tasteful with such delicate subject matter and soulful vocals (courtesy of The Undisputed Truth).

The Factory: “The Factory” is a definite head-nodder that is relentless in its pace and attitude. Backed by various instrumental elements throughout, this Donut is a thoroughly futuristic and complex dialogue a la Jaylib (because really, only Madlib would have that I-don’t-give-a-f*ck attitude to rap over it). It works well in a convenient setting, but could prove a little annoying to any unsuspecting listeners new to this unorthodox sound. Screw ‘em anyways, though.
*Editors note, no youtube video.

Hi.: Ghostdini blessed this J Dilla Donut (with “Beauty Jackson”) with one of his vivid and entertaining stories. Once again, J Dilla seems to set the pace and concept of what the song needs and should be able. This has that under-the-light-pole or at the bus stop feel to it, and it would be an injustice to this beat, which really is simple and elementary in nature, if the lyrics weren’t matching that of a concept that the beat already carried.

Last Donut of the Night: The strings on this are addictive and gut-wrenching, and The Moments “all I give to you” vocal clips in and out are haunting and drive even more emotion throughout the track. What’s even slightly haunting is that the vocal clips cut in and out like a piece of classical black-and-white film does during a voiceover that explains what is about to happen or has happened. I love this soulful, and slightly saddened sound, I just think that a beat like this carries a lot of punch that emcees may (or may not) be able to muster up to. Busta Rhymes and Rah Digga did fine with it though.

Donuts (Intro): A fine way to conclude (or is it begin) this collection of Donuts. By the time you get to this song, you realized you’ve kind of had an experience more unique and different than that of any you have ever had. And, in a Memento-type of fashion, one could probably conclude that you could listen to this album front-to-back and back-to-front and it would make perfect sense. The Intro provides that perfect “welcome” feeling, but it also presents that “welcome to the end of your destination” atmosphere. Regardless, perfect way to finish tasty treats. 
*Below is the original sample.

By: Sean Deezill

Check out the Top 10 Donuts here.