In 1931, the King of Soul was born the son of a preacher in Clarksdale, Miss.

Had he not been shot and killed some 33 years later at the height of his career, Sam Cooke would be celebrating his 72nd birthday today, Jan. 22. The smoky voiced singer-songwriter paved the way for everyone from Otis Redding to Al Green to Aretha Franklin, all of whom cited Cooke as a major inspiration for their sound and style. Cooke’s first single, “You Send Me” sold nearly 2 million copies and reached #1 on both the pop and R&B charts. Cooke was also instrumental in the Civil Rights movement and owned his own publishing company and record label.

To honor the life and music of the King of Soul, we reached out to some of our favorite producers to pay homage to his legacy on our latest instrumental compilation. Ain’t That Good News: A Tribute to Sam Cooke partially shares the name of Cooke’s final studio album, which houses arguably his most powerful and important song of all, “A Change Is Gonna Come”. I can personally remember that track hitting me like a ton—nay, 10 tons—of bricks when I first heard it as a teenager. While I could never understand the pain and tragedy he experienced, Cooke’s longing vocals and resonating words struck me to the core.

We’ve presented a number of instrumental compilations in the past, including the autumnal Robot Soup last October, but Ain’t That Good News is our most poignant to date. It features the likes of Scoop DeVille and Two Fresh reinterpreting prisoner anthem “Chain Gang” while Phil A and Poptartpete deliver beautifully constructed pieces derived from interview clips. Elsewhere, ILLINGSWORTH and IMAKEMADBEATS provide piano-laced bursts of caffeine and Swarvy takes “Mean Old World” to another dimension.

You can stream and/or download the compilation below. Thank you to Theodore Taylor III for the stunning artwork.

Download: Various Artists - Ain’t That Good News  [Bandcamp]

Track listing:

1. Phil A – “Send Me Sam”
2. Scoop DeVille – “Sam Cooke’s Gang”
3. Do$age – “Feelin”
4. Handbook – “Sammy”
5. ILLINGSWORTH – “Nobody”
6. King I Divine – “Dream Square”
7. Lytesho! – “Cooke’s Trouble”
8. Steel Tipped Dove – “Sad Moon”
9. Swarvy – “MeanWorld”
10. Vulkan the Krusader – “Another Fool”
11. IMAKEMADBEATS – “Sam Cookin’”
12. Willie Green – “Bring It Home”
13. Two Fresh – “Chain Gang (Flip)”
14. Poptartpete – “SamCookeJawn”
15. Wrex Mason – “Highways & Byways” (Bonus Track)

There is no need to get into Billy Woods’ back story as an underground rapper. His website does a fine job of that. His newest release History Will Absolve Me (I’m assuming named after Fidel Castro’s famous speeches) is a cerebral record that demands awareness and patience from its listeners. There are no big catchy hooks, escapist melodies, or rose colored lyrics. The brooding kineticism of the beats surrounds his narrative about social ills, political turmoil, and personal angst and courage, in ways reminiscent of Def Jux’s nascent days as a label and aesthetic. It’s a style of rap that became very joyless and dogmatic by the late aughts, but through the eye of Woods, his producers, and partners in rhyme carries a new dynamism.

The album’s second track “Crocodile Tears” sounds like rap being delivered amongst a missile and a laser fight. Woods uses his words to paint vignettes of urban plight, change, and survival in a way that they almost swat away the thunderous pulse of Willie Green’s beat. This is Woods’ rap approach: unflinching relentless couplets that mask an intricate accumulation of street knowledge, historical signifiers, and popular references in their apparent simplicity. On “The Man Who Would Be King” he lets loose “walk like Quetzalcoatl amongst the conquered / dick hard, put myself in the stars / his woman in the dirt, face down ass up / doing god’s work” outlining the history of colonial invasion and exploitation in western Africa. Later on the album, A.M. Breakups laces Woods some thing serious with the 8-bit futurist bap of “Duck Hunt” (which even begins with the sound of the Nintendo classic) as Woods goes in to do his vocal work.

The entire album, an unflinching New York long player, carries these themes and sounds proudly. “Freedman’s Bureau”, perfectly paired with Elucid, “The Foreigner”, and “Famous Last Words” are all stand outs amongst records of guttural and analytical rap. Race, culture, white supremacy, violence, and how individuals and communities navigate these systems of power and commerce are handled with complexity and attention to details. Over the course of 18 songs though, the record’s mood can become very stark, and the tone rather numbing. Without a doubt History Will Absolve Me is a style of rap needs to exist, I just believe Billy and company could have edited for greater effect. Some times brevity is clarity. Either way this is a strong statement record that sounds like a bloodied and militant marching band triumphantly playing their songs while avoiding being gunned down by their rival and enemy.

3.5 out of 5 stars

3.5 out of 5

Hit the skip for the full EP download and stream “Silver Bells” below.

Download: Willie Green – Red & Green [Bandcamp]

You can stream his remix of “GMA” below and there’s a link to the full project after the jump.

Download: Willie Green – Spare Laces

Say My Name – Say My Name EP
Range Life Records: 2010

Although the current trends might suggest otherwise, schizophrenic and sample-laden instrumentals have been prevalent in hip-hop for more than just the past few years or so. It’s just that lately we’ve seen this breed of music really break through, along with the whole wonky movement. As such, it’s always a challenge to assess who’s faking it  and, well, who isn’t. Say My Name, a relative unknown producer from Kansas, falls into the latter category. His debut, which has eight tracks clocking in at 13 minutes, is a mindfuckingly awesome glitched hip-hop trip. From the annals of rap-sampling “Introduction” through the whiny “Copping Pleas” to the haunting lo-fi blips of “Signal Generator”, Say My Name just gets it. What’s especially great is that I could not hear an MC or singer on any of these productions. And, frankly, I don’t want to. – Andrew Martin

4 out of 5 stars

4 out of 5

Premonition – The Build (click to download)
Self-released: 2010

Another in a long line of underground NYC-based rappers trying to break through the clutter, Premonition is hoping The Build will set him apart from other aspiring emcees. Truth be told, he can certainly flow – and he wastes no time proving it, as the first two tracks leave a lasting impression that makes the listener want to truly dig into Premonition’s mind. Ultimately what unfolds is 12 tracks of punch lines, occasionally inspired battle raps and a fair share of ego boosting. Although that’s not quite enough to differentiate him as an emcee, Premonition’s album is actually enjoyable due to some nice finishing touches from DJ Addikt and executive producer Willie Green. The smooth horns on the production and varied rapping tempos on “Fade” make it the true standout track. – Zach Cole

2.5 out of 5 stars

2.5 out of 5

It’s not always easy to be a hip hop fan. As disappointing releases pile up alongside mediocre new-comers, bland endeavors, failed crossovers, fall-offs, janky fads and general bullshit, hip hop in 2010 can be a frustrating affair for long time heads. Thankfully just when uncontrollable nostalgia for eras gone and burn-out seem unavoidable, a release comes to remind you why you keep giving new releases a chance. Super Chron Flight Brothers’ Cape Verde is one of those. While far from perfect, the high-points and overall quality of music on the album make a listener proud to keep up with hip hop.

Billy Woods and Priviledge share microphone duties with complementary styles. Even without unique flows or deliveries, the two rhymers could probably get by with their opposite high-pitch and low grumble bars. Many rappers are successful with far less. Thankfully though, the men spit complex rhymes soaked in wit and concept (i.e. “Hansel and Gretel in child protection,” “They have the last thing you need, and it only costs everything you have,” and “The most beautiful thing in this world is a fool-proof plan / could have fooled me fam / famous last words / like lets pulls these grams”). Using a series of television show samples ranging from The Wonder Years to Looney Tunes and The O’Reilly Factor, the lyrics touch on moods and topics as far ranging as urban crime, getting stoned, corrupt politics, breakfast cereals and the clowns cluttering the current rap world. It’s easy to zone out during the album, but sharp-tongued intelligence rewards a close listen.

As nice as the rapping is, the beats on Cape Verde might be even more impressive. Producers BOND and Willie Green drop grimy melodies perfectly suited to the emcees’ talents. Horns shake the dirt off drums and strings slide across the gutter-ready bass. By the time the first track, single “Reggie Miller”, ends, you’ll be convinced of a layered aesthetic equal parts catchy and raw. “100 Feet of Cold Dirt” exemplifies how well the rappers and producers work together as tales of despair and danger get placed across swirling horns and punctuated with a reggae-call on the chorus.

There are a few places where the album stumbles however. Not all of the songs were recorded with a connection to the television channel theme, hindering overall cohesion. It’s not a concept album, and it can become obnoxious with how closely it flirts with the idea. And as I always find, the skits/scene samples become tedious far before the music does. Similarly, the disc is a bit long with enough moments that could be cut to make a harder-hitting play.

I’ll admit to having slept on the first releases from Brooklyn-based Super Chron Flight Brothers and Backwoodz Studioz. This disc bangs like an alarm clock tricked out with subwoofers though, and I’m awake now. On the back of its strong beats, the album delivers well-worded realism demanding attention.

4 out of 5 stars

4 out of 5

You can view the visuals for “High Stakes” and “Canasta” after the jump and stream the tracks below. Interested in getting the whole record? Hit up his Bandcamp.

PIMB: You’ve been known to sample well beyond the scope of what many producers will. What were some of your early influences?

Willie Green: I really loved Earth Wind & Fire and The Jackson 5 growing up. Then in the late ’90s I was on a big jazz tip; I actually ended up missing out on a lot of the classic late 90s hip-hop. Once I was at Berklee [College of Music] I really fell in love with ’60s and ’70s funk and r&b. I really looked at the melodic concepts and song structures being used in those genres. In a sense, I was working from a very traditional songwriting structure, but I had to fall back from that a bit and learn to work more with chops and loops. I also think there are some artists that just shouldn’t be sampled. You know, I’ll never sample Marvin Gaye. His songs are too iconic that the samples can’t be flipped enough to really make it your own.

PIMB: Coming from Berklee College, was it easier to break into the music industry? What was that process like?

WG: When I graduated, I kind of had an idea that I needed to find a job in a studio. At the time, I had a huge ego about my production skills. I was spending time in studios, but I was just there to do administrative jobs; I wasn’t engineering. I decided to start my own company, Secret Weapon Productions, with a few friends of mine. One of our first projects was this horrible movie, then we moved on to working with local rappers, recording demos here and there. Eventually I started to really hone my skills and I got talked into creating a mixtape of my own work. One thing lead to another and this mixtape ended up in the hands of the right people and they really helped me climb the ladder.

PIMB: You’ve kept most of your work on a fairly underground level. How would you feel about working with major label artists?

WG: If I had a chance to get on a major label I would love to, as long as it fit within my musical outlook. I’m not one of these idealistic indie rap dudes that lives with his parents and will only rep the underground in all circumstances. I’m not going to cater to a major label’s needs, but if someone like Gucci Mane were to contact me to take my beat as it is, I would love it. I’ve got rent and bills to pay just like everyone. And that’s real. So if there was an opportunity to work with a major that didn’t compromise my own beliefs, then I’m working!

PIMB: Let’s dig into your latest solo project, Dirty Jordans. What can you tell us about this album?

WG: That’s a project that I’ve been sitting on for a while. Most of the beats on there are from ’06-’08. It’s just now getting released because it was a lot of the first tracks that I played for Backwoodz when I met them. At the time, Super Chron wanted to use a bunch of the tracks for their upcoming album Cape Verde, which is dropping this summer. Therefore I had to wait until Cape Verde was ready before I could release these beats, otherwise it would have seemed too recycled once Cape Verde came out.

PIMB: So then give us a little preview of Cape Verde. What can we expect with that album?

WG: Well, it’s the new Super Chron Flight Brothers album. To this point, I think it’s my best work. I don’t want to give too much away, but “42nd Street” has a bunch of features with some crazy flows. It’s gotten to the point now where I’m making beats that are holding up as great music years down the line – and that’s something I’ve always aimed for. I make music because I want people to keep replaying my music years down the line.

PIMB: So you want to make classic and/or timeless records?

WG: I don’t want to make records just for the nostalgia factor. I want to make music that is memorable and dope at all times. I want to make an album that people remember where they were when they first heard it. I still remember where I was when I first heard Liquid Swords. I remember where I was when I heard Only Built 4 Cuban Linx, and that one will never leave my iPod.

PIMB: What do you think about music these days?

WG: People don’t need to make an album that sounds like 1994. People don’t need to make an album that’s just going to be hot today. People should want to make timeless music. I’m not sure everyone today respects music enough to do that. When people get stuck on the past the music can get stale. When people are too stuck in the present they get caught up in fads. Music needs progression.

PIMB: So is there anything missing from hip-hop today in your opinion?

WG: Everyone wants to make “real” hip-hop. I think people need to make honest hip-hop instead. Honest music. But there aren’t enough people who realize that, and that’s what’s missing. Everything doesn’t need to be some kind of grandiose political statement. Music can just be music.

PIMB: Do you have a wishlist of artists that you would like to work with?

WG: The first to come to mind are Ghostface and Blu. Blu can really, really rap. But more than anything, I want to work with rappers who like to be rappers. Janelle Monáe is also on some real other shit. She blows me away at times. The Flaming Lips are dope. Also Pharoahe [Monch] and M.O.P.

PIMB: You’ve told us about Dirty Jordans and Cape Verde, but I know you’ve got more going on than just that. What are your future plans for this year?

WG: I’m doing a one-emcee, one-producer project with Hicoup, a Backwoodz rapper who also appears on Cape Verde. That project will be called Guerilla Jones. I’ve also got a record in the works with emcee Pastense slated for late 2010 or early 2011. Besides that I’ve just been cooking up ideas for my next solo full-length. I’ve got a great theme in mind for that one, but I want to keep it under wraps for now. Let’s just say it’s going to sound really different.

Even though he has some of the finest hip-hop production credits around, I’m willing to bet there’s a large number of you readers to whom Willie Green will be a new name. Well it’s about time you familiarize yourselves. The Boston-bred, NY-based Willie Green has laced some superb tracks over the years for the likes of Cannibal Ox, Super Chron Flight Brothers and a slew of other emcees. Last summer he released the instrumental album …Of Heroes and Villains, which received some nice love from yours truly. Picking up right where he left off, Willie brings us a tremendous new selection of instrumentals in the form of Dirty Jordans.

It seems that instrumental albums these days are almost a-dime-a-dozen. Many producers have taken up the post-Dilla, wonky style, while others veer more towards electronica, chanelling idm and ambient textures. Then there are the straight up hip-hop instrumentals – the ones that sound like they were taken straight from mid-90s boom-bap classics. Dirty Jordans falls into none of the above categories.

While it’s possible that from the above selection, Dirty Jordans is closest to the traditional boom-bap instrumental, Willie Green’s work here is far less predictable. His drum sequences and samples reach far beyond what would be considered standard. He orders the tracks seamlessly, all while flipping the tempo at unexpected moments to keep the music lively. Additionally, Dirty Jordans caters perfectly to our ADD-prone society. Not one track passes the two-minute mark, which means there is plenty of material (30 tracks) for listeners to wrap their brains around. Willie toys with a variety of samples, from obscure, distorted guitars, to loopy organ stabs. There is even a hint of world music influence, such as on the album’s lead single “David Lopan”.

One of the most distinct features of Willie Green’s album is his insistence on littering the album with vocal samples lifted from movies and cartoons. This tactic certainly adds a flavor and quirky humor to the album. However, there are times when the vocal chops suffocate the music; it would be better in certain circumstances to just let the music breathe.

What’s pleasant about this album is that there really isn’t a wasted track. Even the 11-second “Shhhhh” has something to contribute to the overall essence of the album. And as far as the standout tracks “If This Truck’s A Rockin…” and “Fish In The Sea”, there is a very short list of other instrumentals from this year that can match their sonic brilliance. So if you’re in the mood for dancing, for some serious head-nodding or for just kicking back and vibin’, Dirty Jordans is for you.

4.5 out of 5 stars

4.5 out of 5

Download: Willie Green – “David Lopan” [Right Click Save-As]