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.

J Dilla's Top 10 Donuts

When Donuts first came out, I think every hip hop listener was taking it as a curveball. It wasn’t a “hip hop album” per se, it was an instrumental album that contained a variety of flavours, like a box of donuts. One thing people couldn’t deny was how good it was. Highly regarded as one of the most important and best albums of the 2000-2009 decade, Donuts provided listeners a unique listening experience; one that seemed as if a radio was turned on and being turned from channel-to-channel every 85 seconds. It provided listeners with grips from every genre, while being able to intake the beauty and meanings attached to each track. Most importantly, it provided listeners a new way of listening to music. Hip hop fans especially, who have been notoriously closed minded and unwilling to change, were taken on this musical rollercoaster and were going to have a good time on it even without a catchy chorus or a witty punchline.
      Donuts acted like a C.S. Lewis novella, inviting the audience to step inside the wardrobe and experience a world beyond what they knew, and hopefully a world they would grow to love, enjoy, and want to stay in. To say that it was an outer-worldly experience would be correct, but to say that it was unlike J Dilla would be invalid. Donuts comes from a producer who constantly pushed the boundaries of hip hop, always tried new things, new sounds, and always incorporated a variety of tasty treats in each beat he produced. Unlike most producers, J Dilla was able to tell stories in his beats, sometimes forcing the emcees to step their game up remarkably. His beats more-or-less stole the show and really were able to stand alone.
      While the cover of the project shows only the defining grin of J Dilla himself, the album is overloaded with a mixed bag of emotions, attitudes, and atmosphere. There is no set picture one can frame over the 43 minute time span, and there is no need to. J Dilla sets the picture for you, and that smile, even when on the hospital bed making these no acclaimed beats, is the product of the completion of what may be one of hip hop’s finest masterpiece.
      Sit back and watch as Freddie C and I, Sean Deezill, return to form and present iHD readers with our opinions and explanations of J Dilla’s Top 10 Donuts.

Sean's list: 
Posted with J Dilla instrumentals

10. “Bye”
à Of course, right after “Hi.” is “Bye.” (both have periods after their title, by the way). Doesn’t it have that cliché end-song theme to it? Not that that’s a bad thing, in fact, it begins the end of Donuts perfectly in that Mr. Rogers type of way. It’s a friendly goodbye, hoping we had enjoyed our stay. The beat doesn’t slouch at all though, and it is proof that Donuts had never let up as an instrumental piece or as an artistic dynamic all together. The drums and the Isley sample is really gorgeous. Common did it justice on The Shining, not sure if what he did on Finding Forever matched that caliber though.

9. “Mash”
à A haunting and slightly unsettling piece of beauty that keeps on intriguing the listener as the song goes on. It's one of those songs that keeps you thinking as it keeps going, especially with the "don't be mash" notions from the voiceover. Do you think Doom and Guilty did this beat justice? It certainly presents a challenge to any emcee that would step to it, however, it could be a great beat to provide a concept to as well.

8. “U-Love”
à Sing that ish Ice Man, sing it. What a treat for those who haven’t heard Jerry Butler to hear Dilla bring this sample out and back these vocals up with perfectly timed horns, a relaxing and soothing drum rhythm, and various other instruments for any keen ear listener to feast on. It’s just a same that this Donut seems to end quicker than any of the others.

7. “Airworks”
à Even though my favourite moments of this donut come from the beginning (the vinyl skip intro) and toward the end (when a split second bleep of “Lightworks” can be heard), “Airworks” is similar to that of an artistic collage. The vocal sample is cunning and sharp, as every note hits home as it trails in and out. It's when It uncharacteristically flows off suit and vibrantly seems all over the place that it is at its best and it's also at this time that Dilla is more in control than ever with his production. Don't believe me? Revisit "Drop" and witness who perhaps mastered the unorthodox.

6. “Workinonit”
à It’s hard to pinpoint where the genius in “Workinonit” is at its peak. Is it the engine revs? Is it the “workinonit” clips throughout? Is it the in and out electric guitar strums? The longest Donut is also one that would most likely succeed beyond an instrumental, simply because it is fully in tact with vocal drops throughout, an intro, a climax, and a conclusion, and a spaced out ambition to take listeners to yet another musical dimension. This Donut set the bar remarkably high for the rest of the disc.

5. “Stop”
à I do love the way Khrysis flipped this same Dionne Warwick sample up, but something about Dilla’s “Stop” really screams a really cinematic and epic romantic scenario. The structure is really the most beautiful part about it, simply because the climax is built up and when it delivers (“you better stop! And think about what ya doin”), “Stop” is at its most satisfying. It comes to a marvelous close with the electric guitar backing Warwick’s voice. It’s really, really nice.

4. “Gobstopper”
à No lie, I could listen to this beat all day. Sure, it’s possibly the most repetitive Donut; it has the same pattern, there’s no surprise inside of it, and it sets the record straight from the beginning via the horns. But, those horns are so perfect. They don’t hit as hard as “Glazed,” and they aren’t as timely used as heard on “The Diff’rence,” but they are so satisfying, so enjoyable, and so soulful that they beg to be heard over and over again. They pack an emotional punch and the horn throughout is a nice touch to add a little additional flavour.

3. “Two Can Win”
à This is perhaps the most addictive Donut, let’s say the Krispy Kream of the batch. Yes, we all see you repeating “only one can win, only one can win.” Yes, we’ve seen those same lyrics on your Twitter, Facebook, and MSN. We don’t blame you at all. The message is instilled in the song and The Sylvers vocals throughout would in most cases be somewhat annoying and redundant. I can’t picture this song being any different though. Note the irony of the lyrics (and original song title of the sampled song) and the title Dilla gave it. Hmm…

2. “Lightworks”
à In retrospect, it took time for “Lightworks” to grow on me. Further in retrospect, I can't understand why. What may be Dilla's tastiest Donut has been blessed with the likes of Q-tip, Talib Kweli, Busta Rhymes, and MF Doom. And unsurprisingly, the beat even with all that talent on it, still remains the star of the show. It's fast pace while being so smooth and hard hitting. Those stick-on-stick-like drums are so perfectly timed and the various ingredients (the alarm horn, vocal sample, Dilla’s adlibs) are marinated in so evenly that not one bit of this donut is over-sprinkled. The spacey elements give it this futuristic feel, and the Dharma Initiative-type (shout out to all my lost fans) of introduction set the tone for what really is an instructional video on dope beat making. One has to wonder though, is the vocal sample really saying "light up a spliff?" ha.

1. “Time: The Donut of the Heart”
à This is without a doubt my favourite Donut and arguably one of Dilla’s best beats. We were lucky to have this beat graced by Black Thought on Game Theory, but this beat could always stand alone as a strong two minute zone out. The emotion pours out all over this track and without saying anything, it tells listeners entire stories; stories of heartbreak, uprising, victory, defeat, and education. It tastes good however you want to eat it, and only a select amount of beats hold this kind of depth and proverbial nature. How perfect of an “end credits” song would this be? 

Freddie's List: 
Posted with the original samples



1. "Lightworks"
Of course this is the number one rank, this is one of Ma Dukes’ favorite Donuts.  MF Doom used it on his song of the same name, one of the highlights from Born Like This. 

2. "Workinonit"
Great example of the production style that made J Dilla and Madlib popular: a lot of samples, a lot of stuff going on, and yet it all comes together like all these clips were made for each other.

3. "Stop"
I LOVE the Dionne Warwick sample, absolutely love it. Sprinkle in a little Jadakiss and some scratching, “Stop” works wonderfully as an instrumental by itself instead of being rapped over. 

4. "Geek Down"
I’m a sucker for any beat that incorporates “UFO” by ESG.  Ghostface later rips it to shreds on “Murda Goons.”

5. "Time: The Donut Time of the Heart"
Aptly titled, as it’s seemingly the most heartfelt of the Donuts. The Roots wisely chose this Donut to use as their J Dilla tribute, “Can’t Stop This.”

6. "Gobstopper"
Not a complex beat, and it is rather repetitive, but it begs to be rapped over.  Big Pooh of Little Brother used it for “Plastic Cups,” and even Joe Scudda brings his A-game on it.

7. "The Diff’rence"
The piano gets put to work on this one, I would LOVE to see someone rip the first minute of this Donut.

8. "The Twister"
Another beat with a lot going on.  I nominate Ghostface to start rapping when the flute kicks in at 0:21.  Tell me that wouldn’t cause a scene from your speakers.

9.  "Thunder"
There’s something thuggish about that piano, like it’s menacing.  I want to hear Prodigy on it for some reason.

10. "Bye"
This beat has the almost-cliché  “heartfelt song at the end of the album” feel to it, but in a good way.  Talib Kweli used it for “I Feel You.”

By:
Freddie C. & Sean Deezill

*To purchase the Donuts album click here.