|
|
|
|
viewing 1 To 13 of 13 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
PJ 017C-LP
|
"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PJ 017LP
|
"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
PJ 015CS
|
"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PJ 016LP
|
"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
PJ 015CD
|
"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro. The CD issue is buttressed by unreleased tracks and includes the music from the EP as it was originally released, the alternate version that Dilla had for the project and complete instrumentals. Author Ronnie Reese expands upon his original liner notes to further tell Dilla's story, in a booklet complete with never before published photographs from the Ruff Draft photo session. This CD issue features first Dilla's original sequence of the EP and then presents Dilla's alternate sequence, with tracks unreleased in 2003, as well as instrumentals. Author Ronnie Reese expansively details Dilla's trajectory at this crucial point in his career, in a booklet complete with never before published photographs from the Ruff Draft photo session."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
PJ 015LP
|
Re-released post-RSD 2018. "When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro. It is buttressed by unreleased tracks and is presented in two versions: LP one is the EP as it was originally released; LP 2 is the alternate version that Dilla had for the project. Author Ronnie Reese expands upon his original liner notes to further tell Dilla's story, in a booklet complete with never before published photographs from the Ruff Draft photo session."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PJ 009LP
|
"PayJay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The Estate of James Yancey has revived PayJay as a functioning imprint, and announced the release of J Dilla's long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla's passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla's original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is now available as an instrumental release, featuring production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PJ 010LP
|
"J Dilla's long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla's passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla's original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is an album of vocal performances recorded between in the early 2000s over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
PJ 007CS
|
"Pay Jay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The Diary is presented here in a special limited edition cassette tape."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
PIC. DISC
|
|
PJ 005EP
|
Now repressed, originally an RSD 2015 release. "Dilla's classic, out of print for over a decade, remastered from Dilla's original mixes and issued on Pay Jay as a badge-shaped picture disc single for Record Store Day 2015. The Estate of James Yancey revived J.Dilla's Pay Jay Productions as a functioning imprint and announced its release of Dilla's long lost vocal album, The Diary. But before that full-length is issued, Pay Jay now announces the final single to be released from the project. It's a classic in every way. This single of Dilla's anthem was originally released as a standard 12". That vinyl is now rare and out of print. On the Pay Jay issue coming for Record Store Day, both the vocal and instrumental are sourced directly from mix-downs that Dilla himself created."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
PJ 003EP
|
Repressed. "'Give Them What They Want' is a special treat - an unheard J Dilla-produced vocal track that has never before been released. It is paired on this release with the Super Dave West version, entitled 'The Doe,' and a second West-produced track, 'No One's Home.' 'Give Them What They Want' was mixed by Dilla himself, and its component instrumental was mixed down to match Dilla's vocal version by Dave Cooley, from Dilla's original multi-track sessions."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
PJ 002EP
|
"The estate of James Yancey revived J Dilla's PayJay Productions as a functioning imprint and announced its release of Dilla's long lost vocal album, The Diary, with the first Pay Jay single 'Anthem' b/w 'Trucks.' Pay Jay now announces the second single from The Diary with what might be the two best known tracks from the album, as both were issued in bootleg and promotional forms over the years. But these versions -- both final and alternate mixes -- come straight from mixed-down masters that Dilla himself created. 'The Shining Pt. 1,' better known as 'Diamonds' was produced by Virginia's Nottz. 'The Shining Pt. 2,' better known as 'Ice' was produced by Dilla's Jaylib collaborator Madlib. This section deserves particular note, as the album version and 'Ruff Draft' version are so markedly different -- and show the musical direction that Dilla would embark upon after he shelved The Diary in 2002. Rounding out this 12' is a Madlib instrumental that was never turned into the final song, titled 'The D,' that Dilla had hoped to create. We've included this beat as a hint of what could have been. The first press of this 12' features clear vinyl atop an original Jeff Jank sleeve with art by B+ and Shepard Fairey and placed in a thick, fold-over plastic sleeve. Subsequent runs will not have the clear vinyl or the fold-over plastic sleeve."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
PJ 001EP
|
"Pay Jay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The estate of James Yancey has revived Pay Jay as a functioning imprint, and is announcing its release of J Dilla's long lost vocal album, The Diary. The first single features 'Anthem' and 'Trucks' -- two of the songs J Dilla recorded in late 2001 and early 2002 as he put the finishing touches on what was supposed to be an album featuring his raps over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins, and others. These two tracks, however, were produced by Dilla himself and come straight from multi-track masters found on 2" tape shortly after Dilla's passing in 2006. These songs have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using his original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. Rounding out this 12" is Dilla's original mix of 'Trucks,' discovered as a two-track demo mix. We've included this mix as it features an alternate version of Dilla's vocals and a third verse not found on Dilla's final sessions for this song."
|
|
|
|