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released at least one other foreign version when France’s Lady Laistee substituted Common on “Dance For Me” in 2002. Arguably one of the strongest catalysts for rap and R&B joining hands (although many others came before her), Mary J. Norway’s production linchpin Tommy Tee planted N-Light-N on his remix of Alexander O’Neal and Cherrelle‘s “Baby Come to Me” and Italian duo Sottotono cleared out Nas and the Jimmy Jam & Terry Lewis beat on Mary J. Because back home (and in the rest of the world), while remixed in a way to align it with the perceived pinnacle of all posse cuts, the Juice Crew’s “The Symphony”, and equipped with all-new lyrics from the Firm members, “Affirmative Action” was only the b-side of the “Street Dreams” single.ġ997 produced two entries that were remixes in the traditional sense (same song, different music), tellingly in the R&B genre. On Nas’ part, it may have added an international flair to his Firm concept, on Columbia’s part, it was a successful effort to bring together the world’s most important markets for rap music that deserved its own video budget. It had its own video, footage showing Joey Starr and Kool Shen on the same set with their host. This combination was as high profile as could be. AZ still opened up the song, while NTM took the slots of Cormega and Foxy Brown. The remix featured famed French rap duo Suprême NTM. The first such release that I took note of was “Affirmative Action (St Denis Style Remix)”, a French version of the 1996 Nas song “Affirmative Action” from his sophomore album “It Was Written” that was also the formal introduction of supergroup The Firm. Finally they support the global music player’s local efforts, which may comprise the career of the featured rapper signed to them.

They stroke a domestic audience’s ego by acknowledging the existence of native artists and letting them join a single of a major US star.

They provide an additional incentive for customers to buy a single or for disc jockeys and station programmers to play a song. To make it clear, these are almost throughout not personal collaborations between individual artists (or real remixes) but hybrid recordings concerted by label employees that serve different marketing purposes. Researching these features takes time and luck, so there’s a good chance that I may not have caught every single one, especially in the Eastern Hemisphere. This corresponded with Def Jam’s long-held ambitions to open up local chapters, which they did first with Def Jam West in 1992, then, most successfully, with Def Jam South in 1999, and at the start of the millennium with Def Jam Germany, Def Jam Japan and Def Jam UK. Def Jam Records was pushing these efforts once it had the international pull as part of Universal’s The Island Def Jam Music Group. In order to market American artists abroad, some labels began to add local MC’s to existing songs and release these enhanced tracks exclusively in the guest’s home country. For record buffs it goes without saying that this article couldn’t have been researched without the database. If that sounds in any way conspirational, it absolutely isn’t, it’s simply me connecting dots that cursory rap listeners probably have missed at the time. No news on release dates or tracklistings as yet, but fingers crossed Monch will recapture some of the spirit of 2007’s excellent Desire.įact Selects: Slauson Malone 1 – 'Voyager'įact Selects: Aphex Twin - 'Blackbox Life Recorder" dir.Let’s have a look at a little known experiment that the music industry was running between the later 1990s and the later 2000s. For those whose ears are still ringing from Lil Wayne’s Rebirth, rest assured that there will also be “a lot of beats” to offset any potential infelicities.

The album, for better or for worse, promises a “lot of rock joints”. Monch’s new project is reportedly called Rock vs. Last year’s W.A.R (We Are Renegades) arguably made less of a splash than previous releases as Hip Hop DXreport, Monch is correspondingly jumbling up his influences on his new album. At their best, the New York veteran’s rhymes – frequently intricate, often innovative – unite natural charisma with remarkable formal dexterity. With a few notable exceptions – Danny Brown and Ghostface, say – very few MCs do ‘unhinged’ as well as Pharoahe Monche.įrom his Golden Era work with Organized Konfusion through to his own tubthumping solo cuts (house party staple ‘Simon Says’ in particular) Monch’s voice remains distinctive and distinguished.