First of all shotout to the Click The Square box for taking up an hour of my time when I should’ve been getting right to work on this post. Damn that shit was fun. Anyway, let’s discuss one of the thousand reasons that make New York City the best city on earth. The scenario is; a super crowded nightclub, no one in the place looking less than fresh to death, beautiful women in every direction you turn your head, a few Yankees in that corner, a few actors in that corner. Scram Jones is on the set with the crowd in the palm of his hand as usual, some type of rock/house remix has the energy level at a 10, and only a few records later he drops in the full intro of “Come Thru” by Nore and Styles. Not only does the energy remain at a 10, but people seem to get even more excited as the beat drops, and somehow the most unassuming characters, judging by looks, are “singing” along…
Here’s why they call me the Ghost, I’m half live – half dead, and when there’s beef I bring all of the toast.”
Yea, those characters are the native New Yorkers. And their energy is enough to convince those who don’t know what a Styles P is, that this is the shit, and it’s time to get fuckin’ hyped. A few records later, the tempo is way up and the party goes on into the night. Yes, that just happened in a high class club, and this makes sense only because that club is in the heart of New York City.
One of my favorite things about sampling in hip hop is when an original sample takes on an entirely different feel when flipped by the producer, and in many cases turned into a dark soundscape for some hard raps. When standing on it’s own, Percy Faith’s “Early In The Morning” has a very upbeat and calm aura about it, but when used by producer Edward Hinson in “Come Thru”, it has an eerie and almost scary vibe to it that matches the lyrics and ultimately makes that record so effective. On the intro and in between verses he uses the 4 bars from 0:12, and then for the verses we hear some hard drums over the beginning of “Early In The Morning”. Definitely one of the records that I most regret not squeezing onto Live From New York.