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  1. #1

    BDP Production Credits

    It appears that KRS got himself a nice production discography during the BDP years just by providing overall direction (makes me think of Craig G's "Feel Ya Way"). Not that KRS didn't become a capable producer in his own right after the run of BDP albums. But I think the credits on Sex & Violence really say it all - he wasn't ready as of the 1991 recording sessions to contribute anything particularly worthwhile. There was proper attribution to Kenny Parker, Pal Joey, Prince Paul, etc, and KRS was basically nowhere to be found unless you think highly of tracks like Say Gal and The Real Holy Place.

    Here's what I've gathered, and it's pretty hazy:

    Criminal Minded
    Ced Gee: The Bridge Is Over, Poetry, Remix For P Is Free, Word From Our Sponsor, Dope Beat, Super-Hoe
    Scott LaRock: South Bronx, Elementary, Criminal Minded, 9MM Goes Bang

    Did Ced Gee get any money out of this, or was it just a favor to his childhood friend Scott LaRock? Or maybe just for the betterment of the Bronx?

    By All Means Necessary
    Ivan Doc Rodriguez: Entire LP aside from Illegal Business, engineered by some dude named Frantz

    Doc gets his engineering fees, but right there in the credits it says "Written, Produced, Directed, and Mixed by Krs-One".

    Ghetto Music
    D-Square & D-Nice: Entire LP? This is the most mysterious one. And again, the production credits say "Produced by, mixed by Krs-One".

    Edutainment
    This is where Kenny Parker emerges, so it looks like some combination of him, D-Square, and D-Nice. Pal Joey taking a break from house music to make an all-time great track in "Love's Gonna Get'cha". Once again, Krs gets a production credit for every track except for the aforementioned "Love's Gonna Get'cha".

    Sex And Violence
    Now we get some clarity. Kenny Parker achieves his high water mark on this one with Build & Destroy, Poisonous Products, We In There, The Original Way, and Like A Throttle. He would go on to achieve very little, but he deserves a medal for this album. Pal Joey produced Duck Down, 13 And Good, Questions & Answers, and Who Are The Pimps, although his most classic production as far as I'm concerned was the alternate version/remix for Questions & Answers. The only (outright) production credit for D-Square was Ruff Ruff. Prince Paul did Drug Dealer, How Not To Get Jerked, and the title track

    KRS would go on to have 3-4 noteworthy years as a producer (1993-1996).

    Like I said, the BDP years were very hazy, and I haven't even mentioned non-album tracks (Steady B, etc). Any clarity here would be much appreciated.

  2. #2
    DWG Warrior
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    He got a health portion on the Channel Live album and Just Ice, Mad Lion etc too

  3. #3
    DWG Warrior
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    re: Ced Gee - i remember reading something that mentioned that he was literally the only person in the BX that they knew had a SP & programmed nearly all the drums

    something tells me that KRS did South Bronx though, but iím damned if i can remember where i read this

  4. #4
    DWG Warrior
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    KRS One attempts at beat making are on the whole pretty shite.

    Those Front Page Entertainment records can confirm.

    Pal Joey's productions are also the pinnacle of BDP beats for me. Love the Q&A remix.
    Hypnotical Gases - Keeping my proboscis out of the dirt.

  5. #5
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    Quote Originally Posted by Roy Johnson View Post



    By All Means Necessary
    Ivan Doc Rodriguez: Entire LP aside from Illegal Business, engineered by some dude named Frantz

    Doc gets his engineering fees, but right there in the credits it says "Written, Produced, Directed, and Mixed by Krs-One".
    I'm sure I've read D-Nice pretty much did "By All Means Necessary".

  6. #6
    DWG Warrior
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    It's all about that Q&A remix

  7. #7
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    KRS did the beat for Mad Izm though right?

  8. #8

  9. #9
    Quote Originally Posted by step one View Post
    KRS did the beat for Mad Izm though right?
    I think so. The mid-90s was an era where there wasn't much ghost production taking place. Guys got their proper credits in the vast majority of cases. So when BDP came to a halt, KRS must have really put some effort into honing his beat-making skills.

    I suppose his first important production would be Feel The Vibe, Feel The Beat, the 1992 b-side on the We In There VLS which basically kicked off his solo career. The beats that he produced on Return Of The Boom Bap aren't particularly impressive. He shares the production credit for the classic b-side Hip Hop vs Rap with his brother.

    But the 1994-1996 output:

    1994
    Channel Live - Build & Destroy
    Channel Live - Reprogram
    Channel Live - Mad Izm
    Channel Live - Who U Represent
    Channel Live - Down Goes The Devil
    Channel Live - Cause & Effect
    Mad Lion - Take It Easy

    1995
    Krs-One - Ah Yeah
    Krs-One - Ah Yeah (Mellow Vibe Mix)
    Mad Lion - Real Ting (Remix)
    Young Zee - Milk

    1996
    Poor Righteous Teachers - Conscious Style
    Poor Righteous Teachers - Conscious Style (Antidote Remix)
    Poor Righteous Teachers - Conscious Style (N.O.S. Remix)
    Broadway - Must Stay Paid
    Mad Lion - Double Trouble (Remix)
    Krs-One - High School Rock

    And this is by no means comprehensive, but as you can see, there's enough material there to put together a great 80 minute disc. Which I have.

  10. #10
    Quote Originally Posted by Jack View Post
    I'm sure I've read D-Nice pretty much did "By All Means Necessary".
    This is maddening to me because D-Nice only gets a mixing credit for T'cha T'cha, and most of the beats on that album are elite-level.
    Last edited by Roy Johnson; 22-06-19 at 03:42 AM.

 

 

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