Volume 1 was done about 10 years ago with all the usual suspects in terms of SP-1200 (SP-12) production.  Since I've become more and more of an audio file as of late, I thought I'd dig a little deeper into the SP-1200 catalog since I just love that 12 bit, crunchy sound.  Half the fun of the mix was doing the research of production equipment used in the making of different classic joints to confirm SP-1200 usage.  I used the old "double source" system of verifying whether the 1200 was actually used on different songs or albums.  In other words, if I read/heard two separate interviews where a given producer confirmed using the SP-1200 in some shape or form (whether for the whole beat or just the drums) that song became mix eligible.  As with all of my mixes, quite a bit of time and energy went into crafting this labor of love.  Hope you all enjoy!

SP-1200 Volume 2

Hip Hopper since 1978 with wife and kid looking for musical inspiration between honey and daddy dos.  I'm inspired by the acclaim of the loop based music of Roc Marciano, Apollo Brown and 14 KT making classic beats on little more than a cracked version of Cool Edit Pro, the L.A. Beat Movement, Nick tha 1da's SP-303/404 videos, all the SP-303/404 beat makers, the stories of how Donuts was made (regardless of how true they may or may not be), deejays going the less convenient route and mixing all vinyl sets, all of the incredible rapper-less albums that have dropped the past 7 years, Oddisee, Damu the Fudgemunk, Dibia$e, Ras G, Samiyam, just about every beat by Madlib, Adrian Younge, and the simplicity of a stack of records with a drum machine.  I'm inspired by minimalism.  Enjoy the mix.

Minimalism

Back by popular request.  I really thought I was breaking new ground with this mix back when it was originally recorded in 2003/4.  I'm not really sure if I broke any new ground with this mix after listening to it almost 10 years later, but a lot of you still seem to hold it as a favorite.  The original description of the mix is below.  Again, I really think I overstated the "unlike anything you've ever heard" claim.  Apologies for the less than optimal sound quality.  Enjoy (again).

"This mix was inspired by the Chronic album. I have come to the conclusion that the Chronic album is the greatest hip hop album of all time (in my opinion). When the album came out it sounded like nothing before it. Since the album dropped, nothing has touched the uniqueness of the Chronic sound. My goal with the Kush Mix was to create a mix that sounds like no other mix. I mixed songs that are usually not mixed together with the aim of creating a musical landscape that tells the story of a “night on the town.” I hope you enjoy the mix as much as I enjoyed making it."

TheKushMix

Stoned-out mix where all the songs blended together have some common element (shared sample, vocal drop, lyrics, etc.). Multi-track mix blended to the level of the 91 Rebels.

91 Fix

Burn some blunts. Blend some blends. Slow it down. Hear how it ends…

Blended Blunts

As promised, another mix released into the universe that was collecting too much dust. Last mix I'll release in 2024, and then I'll start 2025 (late January) by letting go of the tribute mix I made for Omega:NYC (RIP).

The O tribute mix (Standing in Live at the SV Show) is actually the most recent mix I've made (completed two months ago). I'll follow that up with more mixes from the vault, followed by some new mixes I'm putting the finishing touches on.

As far as this "Future Shock" mix: it's a Death Row mix, stoned-out, with extended multi-track blends. Some of the blends are so in pocket that the untrained ear probably won't even hear the blend. As always, a lot of effort went into creating this mix. Hope you enjoy.

Future Shock

Motown themed mix filled with classic Motown joints, their sampled interpretations, and top shelf mixing like they just don’t do anymore. And of course, expect that stoned-out pipo funk.

SLO(W)TOWN Tape

I've never listened to as much music on my headphones as I have the last two and half years since my daughter was born.  In fact, I've become quite the headphone connoisseur, purchasing five different pairs of headphones in the last year.  I've got monitoring headphones, deejaying headphones, walking around the house headphones; I even have a pair of headphones that fit me just right for when I'm laying on the couch just listening to music.  That's pretty much what I do.  When done doing honey-do's and daddy-do's, I put on my headphones, listen to music, and search for inspiration for my next mix.  The problem I had for months was the actual "mixing" part of the equation.  I kept wasting my precious free time napping instead of mixing.  Enter: coffee.  The key ingredient to the equation is coffee because those wonderful brown beans have kept me awake and mixing.  The Beats serve as the inspiration.  The Headphones allow for hearing the inspiration while Lil Mixes sleeps.  And the Coffee keeps me awake enough to create.  


Beats, Headphones, & Coffee

There have been several sources of inspiration that have really kept me checking for new music the last few years. Madlib's post D*&#a (06) production, future beats producers like Ras G and Dibia$e, and the many quality releases from labels like ReDef Records, Mellow Music Group, and Street Corner Music.  All of the quality music from the aforementioned artists/labels (among a host of others) have fueled ideas for new mixes. Among the array of quality releases, nothing has tickled my fancy quite like the ascension of Roc M*#$iano. Roc Marci's music is the quintessential example of old becoming new. There's nothing new about stripped down, loop-based production sprinkled with grimy raps. However, the way in which Marciano does it and the timing in which it is being done, make this old tried and true combination very refreshing. As much I tried to resist doing this mix because I considered it low hanging fruit, I could only resist for so long.  The music is just too good and I like Roc's catalog too much to have not made this mix.

This mix was completed six months ago and has been sitting on the shelf collecting dust ever since. I held off on releasing the mix because I thought another Marci album was going to drop during the fourth quarter of 2014 (as was done with his three previous albums during the last two years) and I wanted to time the mix's release with Roc's latest album. No such luck and I can't sit on this mix any longer because too much time has passed since I released my last mix.  So here you all go. Enjoy it because I'm not sure when the next mix is coming. Not to be confused, I'm always working on a new mix. Whether it's thinking of new concepts or themes, brainstorming songs and sequences, or the actual mixing of a mix; I'm always working on the next mix.  However, my process is getting slower and my time more limited. Please enjoy it until the next one because if the last few months have taught me anything it's that "next" is not always guaranteed.

Sounds Like Porridge

I met Omega:NYC in June of 2000 while standing in line at Slum Village’s “Fantastic Vol 2” album release party/concert. As I’ve mentioned before, the El Rey Theatre was 70% full at best that night. All the Dilla Stans of the last 20 years were nowhere to be found that evening. In fact, Dilla was also nowhere to be found at the show.

At that time, O had just moved out to LA from his native NYC. He had yet to move his turntables and records out here and was reduced to using pause tapes to communicate his musical fix. 

I was standing behind him in line by pure chance. Like a typical New Yorker, he was wearing his backpack filled with a stash of pause tapes ready to play for a deserving ear. The bouncers told him his backpack wasn’t allowed inside the venue. I agreed to hold his spot in line while he put his backpack in his car, and we were friends from that moment forward.

He invited himself over to my house the next day as soon as I told him I had a pair of turntables. Though I had been deejaying for years at that point, I was on the verge of quitting and selling my turntables when I met O. I was wack and wasn’t getting any better. Keep in mind that this was pre-YouTube and being able to watch all the tutorial videos that are now available to anyone who wants to learn.

O coming over to my house for the first time changed everything for me. For the first time, I could actually see a dope DJ do their thing and get a look behind the curtain. From this point forward I started to improve and ultimately master my instrument.

O was the essence of Hip Hop, and he was the essence of NYC. He gladly shared all his knowledge with me and I soaked it all up. Some people can draw. Other people can play the piano. My instrument is two turntables, a mixer, records, and knowledge of music. I have Omega:NYC to thank for all that. For the last 25+ years, my turntables have been my therapy.

As playlists replaced the mix(tape), the only ones left listening to mixes became fellow DJs (not a very large audience). In the end, mixtapes have always been a FUBU (for us, by us) type of thing. More specifically for me; I always made my mixes with O in mind. I knew he’d be the only one to notice all the subtleties. I knew he’d be the only one who would call me to say things like; “that blend you did at 3:14 was fire! How’d you do that?” He was like a proud father.

O died in February 2024 after a one year battle with pancreatic cancer. With his passing, I didn’t just lose one of my best friends; I lost my love for music. Instead of music being a refuge, it became a source of pain.

This is my tribute mix for O that I finished a few months ago. It’s filled with all sorts of musical inside jokes between us that only he’d understand. I’m going to provide some linear notes in a few weeks explaining all the song selections and their respective meanings. For now, I’ll just let the music do the talking.

It’s a shame O will never hear this mix because it was made for him. It took me way too long to make this. 2024 was the most chaotic year of my life and O’s passing made it all the more difficult for me to seek refuge from that chaos in music.

As I started to heal from the wounds of 2024 toward the latter stages of the year; I slowly worked my way back into my home studio and back onto my turntables. This mix isn’t just a thank you letter to O, but it’s also proof of my healing.

R.I.P. Omega:NYC:

4:O (Standing In Line At The SV Show)

I saw this J. Rocc video (https://youtu.be/Hpmkd6Je4b8?si=KpEQUTGEoQyxQOJN) on 404 Day a few years back and got inspired. Mixed some beats from one of the 404 kings (Ras G), blended it with acapellas and drops from the 444 rapper, ran it all through the 404 efx machine, and then added some stony spices. Here you go.... Enjoy

SP - 444

Haven't dropped a mix in almost a year. Life has its way of pulling a deejay from his tables. Bogota got beats and Boiler Room sent the ol' Pipomixes to his mother's motherland to prove it. Classic night. Future beats and seamless blends. That is; until some lil Bogota hoppers shot-up the spot (video currently being held for ransom). I made like Carlito at the pool hall with his cousin; grabbed a flash drive; downloaded the mix, and was out the backdoor. Good thing Pachanga found work with Narcos. Hopefully, he won't tell Benny I uploaded the mix.  Doesn't matter anyway because the mix already hit the web. Anybody seen Gail? Shoutout to the folks at Boiler Room. Sorry about the mess. Hoppers like beats too. More than that; I guess they can't stand some standing around, phone checking, want to be on camera moth$&f@ck!rs.

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Bogota Got Beats

The R%w Fr*&t series is impeccable.  I hope I've done it justice and encourage all of you to cop the 4 volumes if you haven't done so already.

Blended (R*w) Fruit

Originally recorded in 2007.  This was the mix that forced me to buy Torq. I remember fiending for "Everything I am" after hearing Graduation and wanting to get that song on my turntables desperately. When the people at Fat Beats told me that the Graduation album wasn't going to be released on vinyl, something had to give. A few days later I was a Torq owner and working on this mix. I still buy vinyl, but not nearly as much as I once did (which is good for my wallet but bad for the record stores)

Kanye's Crates - Mixed by Pipomixes

A lot of quality music out there if you're looking.  I gave you that Mixed Fruit in honor of Ras G.  Dropping some knowledge here with the one, the only, Knxwl*dg!  If there's a better Knx mix, I'd like to hear it.  Enjoy.

Drxwpeng Knx

Deconstructed, reconstructed, and broken-down like only the man who unofficially holds the title for most Chronic listens can.  A couple of interesting side notes about the album and me.  My first residency was located directly across the street from the studio where Chronic was recorded (I had no idea until years later).  There is a Popeye's Chicken located on the corner of Hollywood and Cahuenga where I would go to use the bathroom before my gigs, and where I would go to sober up before going home (personal highlight was seeing my childhood crush, Idalis eating there).  I would come to find out later via docs and interviews that Snoop, Daz, Kurupt and the gang would regularly eat at this very same Popeye's during the making of The Chronic.  Enough geeking out, enjoy the mix.

DeChronStructed

My new "situation" has afforded me much more time to work on mixes than I had before.  I am currently sitting on four completed mixes and on the cusp of finishing a fifth.  Of course, all will be released at some later date.  I'm not sure why I'm taking so long to let go of these mixes, but I am.  Mix hoarder?  Whatever you want to call it, here's the first step toward rehabilitation.  Samples/breaks used to create the masterpiece that is Supreme Clientele, mixed like you've come to expect from Pipomixes.  Enjoy and share.

Supreme Breaks

Originally written in early 2008

This mix was inspired by a R*#ts concert that I saw in February 07. While watching the concert, I remember thinking to myself that Hip Hop isn't dead, it's just growing up. Hip Hop as a culture and art form must progress and develop in order to survive and stand the test of time. The original Hip Hop generation is getting older and getting more educated. We are not too far away from the first Hip Hop president (maybe even just a few months away). The R*#ts represent the direction that Hip Hop music should be headed. I'm not saying that all acts need to be live bands. But those MC's and producers that fuse the core elements with innovation will keep the art form alive and relevant.

The R*#ts

Yesterday (November 13th)marked the 13th anniversary of ODB's death. Tomorrow (November 15th) would have been ODB's 49th birthday. Probably no rapper is more deserving of the Stoney treatment.  ODB mixed over a bed of stoned-out joints coming from the likes of De la Soul, Ohbliv, Adrian Younge, Ras G, Madlib, L'Orange, Delroy Edwards, Sir Froderick, Dil Withers, and many more.

Ol Stoney Bastard

I was originally working on a D*# mix but I got annoyed with how "clean" the mix was sounding so I abandoned the mix. Being annoyed with how clean the D*# mix was sounding and the general "cleaness" of musical sound these day, I went diggin' through my record collection to find records that would constitute a more raw, authentic sound. The frustrating thing about going through a record collection is that there is very little music that you can't find online through a few google searches. Even though the rarest of rare records can be found online these days, I decided to stick with records that I originally discovered only by buying white labels and looking on the b-side of better known 12" records. I'm sure you can find most (if not all of these joints online, but a lot of the music used on this mix is lost somewhere in the online abyss.  I've got to say that it was a lot of fun going through and finding all of these joints in my collection because all of these records were bought on just a hunch (especially the bootlegs). I've also got to add that for every quality bootleg that made this mix there's at least 3-4 wack bootlegs that I regret buying. I guess that's the fun part of diggin' for records.





Bootlegs & B-Sides

Narco raps over Donuts' tracks; Pipomixed and stoned-out.  Second thank you mix to close-out Dilla Month in appreciation of all those who copped the "Narcos, Gods, & Fly Gods" tape.  Thank you, once again.

Cocaine Donuts

I consider Ras G a beat gawd.  For that reason, having Ras G co-sign my Cocaine Donuts mix was one of my personal highlights as a DJ.  Going back and forth with Ras G via twitter, I was asked to give the Pipomixes treatment to Ras' latest release, "Stargate Music."  Knowing Ras is a big Mach Hommy fan, I mixed/mashed/stoned Mach Hommy with beats from Ras' Stargate Music (along with many other Ras G releases).  I hope I did justice to both of these avant-garde artists.

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Hatian Space Program (Mixtape)

I'm just trying to make ill mixes.  Respect to all those who appreciate the craft and everything that goes into my mixes.  Respect to all those who ain't feelin' it, but took the time to give it a listen. Peace to J. Rocc, HouseShoes, DJ Screw, Madlib, KTO, Jazzsoon, Omega:NYC, Knx, Ras G, ALC, Mach Hommy, and Jansport J; All of your ears for music, styles, and funkiness; continue to inspire me.

Word up to Outkast and JJ for providing the colors to paint the canvas. Word up to my turntables, mixer, records, SP-404, and the Legendary Cool Edit Pro; for providing me the brushes to paint the canvas.

Limited tapes will be released into the world for posterity.
https://pipomixes.bandcamp.com/album/sorry-ms-jackson-tape

Sorry Ms. Jackson

I think I must have stopped and restarted working on this mix at least half a dozen times. Originally, I intended to do a second installment of the D*#med mix from a few years back by mixing the instrumentals from all the Special Herbs and Spices volumes. Upon completing the instrumental mix I thought the mix sounded a little bland and needed something more to bring D*#m's beats to life. I'd tell you all the different ideas that I tried that ultimately ended up on the cutting room floor, but it would hurt me too badly to hear someone say; "Oh, you should've done this or that instead."

In end, I ended up throwing a bunch of B*$ and J*#-! vocals over the pre mixed D*#m beats. The mix is done in the style of the Bi$#ie Jackson and Chris Jones mixes, so don't expect a mix to bore you with vocals you already know over beats you've already heard. Instead, I attempted to do what all deejays should do; take music you know, but mix, mash, and blend it in a way that creates a completely unique listening experience. Well, at least that's what I attempted to do. I guess all of you will ultimately judge how successful I was. Enjoy the mix.

Brooklyn Herbs

I've sat on this mix for a few years now.  This is just a mix I made because most D^% mixes show absolutely no depth of D*# production catalog.  Most of the mixes I've heard just focus on the post 2001 (really 1999) era of D*# production with a few better known Ch*&nic joints sprinkled here and there.  Being a SoCal native, the bulk of my introduction to hip hop came through D*# production.  If you don't know every loop, every bridge, every random sound from his D*C, N*#, E#*, Mich*#, D#&thr*w days, you just don't know D*# production.  The mix was so easy to make I feel stupid positng it (which is why it's been in the vaults for a few years).  I've also chosen to keep the mix untitled to prove the point that I didn't decide to do a D*# mix as a cheap way to garner hits/listens/downloads etc...  It's just something I felt like doing because I wasn't really working on anything else at the time.  I'm currently in the final stages of what I consider to be the Mona Lisa of mixes (at least as far as my mixes are concerned).  That mix should post in a few months.  Hopefully, this mix will hold you all over until then.

Some Dr. from Compton

When Dilla first passed I refrained from doing a tribute mix because I felt that it was a little like bringing sand to the beach (though I thoroughly enjoyed many of the tribute mixes that circulated the web). Now that 2 years have passed, and over 2 albums worth of new material has been released (or re-released in some cases), I felt I could bring something new to the Dilla tribute mix collection. Expect the usual BlendingNations signature sound of quick mixing and blends upon blends. Take a moment and remember a talented man who died too early. Enjoy..."


DillaMix-Pipomixes

This mix was inspired by a Little Brother interview I read a few years ago. In the interview, I remember the interviewer asked the group why they went with the name "Little Brother." The group replied that they chose the name because they felt that musically, they were the "little brother" of groups like ATCQ, De La Soul, and Slum Village. In the spirit of that interview, I put together a 40 minute mix of Tribe, De La, and Slum V classics titled "Big Brother." Same BlendingNationSounds mixing style that all of you have come to know and love. Enjoy."


Big Brother

First off, big ups to my man Joey Stratts for the cover art. If any of you fellow deejays or bloggers are in need of some graphic art, hit up my man at joe.serhan@hotmail.com. Okay, okay, enough with the shout-outs. As the title suggests, the mix consists of all Pete Rock produced tracks. It's more on the minimega-mix side of things because it only runs at about 23 minutes and change. I know, I know, why so short? I don't have a good answer for that one other than I always error on the side of quality over quantity, and that my next mix (all Doom) will be at least double in length. The mix consists of 36 Pete Rock tracks mixed into a 23 minute package. To make things interesting, I'll send over a copy of the very hard to find Taster's Choice Vol. 4 (mixed by J.Rocc) to whoever is the first to post or email me a correct tracklist. As always, a lot of time and energy went into crafting this mix, so I hope you all enjoy the mix half as much as I enjoyed making it.

Pete Rock DXM06

More Kush is finally here!! Why more Kush? You ask. Well, I noticed how many of you enjoyed the original Kush Mix I posted several months back. So, in my endless effort to satisfy my blogging audience, I thought it would be a good idea to go back to the lab and hit you all off with another installment of the Kush series. The latest installment of the Kush series consists of all of my favorite loops and hooks mixed, mashed, and blended together with that usual BlendingNation sound. Let's face it, our favorite songs are our favorite songs because of the catchy loop or hook repeated throughout the song. No MC will ever touch Nas' 1st verse on the "World is Yours." That being said, that song wouldn't be the same without the piano loop from Ahmad Jamal, and Pete Rock singing the hook, "Who's world is this?"
Before all of you go and download the mix, I think it's worth mentioning that some of the loops and hooks incorporated into the mix are as played as polo-shirts at a Kanye West show, while others are as slept-on as Sunday morning talk shows. Remember, THESE ARE MY FAVORITE LOOPS AND HOOKS. This mix is by no means intended to be an "All Time Greatest Loops" mix. As always, a lot of time, money, and energy, went into crafting this mix. What does all that mean? It means that I hope you all enjoy the mix half as much as I enjoyed making it.

More Kush

I am constantly thinking of different themes to build a mix around. With the completion of each mix I typically fall into a 2-3 week funk where I try to think of a new theme for my next mix. Following the Folger's Blends mix I was struggling to think of a new theme. Then, one day while doing a random google search I stumbled onto the above logo. At first glance, I thought the logo was straight dope. However, the logo became even cooler when I learned that it was the creation of my favorite t-shirt designer, Derek from Manifest Worldwide. Given that the saying behind the logo comes from a ATCQ song, I was originally intending to do a Tribe mix. However, since Tribe mixes are a dime a dozen I went in the direction of creating a mix that attempts to capture the jazzy vibe that groups like Tribe and Digable Planets spawned. As the title suggests, all songs on this mix incorporate jazz based samples. The track selection includes music from jazzy groups and producers such as A Tribe Called Quest, Digable Planets, Diamond D, Black Moon, De La Soul, Madlib, No ID, Gang Starr, Showbiz & AG, Big L, The Roots, and Nas (I think that's all of them?). Half the fun of making this mix was doing the research to ensure that all songs maintained a jazz break. Some were no brainers, but other songs with jazz breaks were quite surprising. Jazz based samples have always given a special vibe to hip hop music so I hope this mix captures that magic. Thanks again to Derek at Manifest for inspiring the mix's theme.

We Got the Jazz

June 16th, 1971... Somewhere along the way it became "uncool" to listen to 2pac among hip hop elites. I'm not sure why, but the vanguards of rap music have never given 2pac the same critical love as other deceased rappers such as Biggie, Big L, or even Big Pun. Not that he doesn't get love (I believe he is the highest selling rap artist of all time), it just seems that the same heads who worship Biggie, Tribe, De la, and Rakim, don't have an appreciation for the musical contribution of 2pac. With that in mind, I designed this mix to make believers out of all those who are lukewarm toward 2pac. This is a 2pac mix for the snobbiest of hip hop elites. This is not a mix that will feature songs like California Love or All About U. Rather, this mix primarily consists of selections that showcase the section of 2pac's catalogue that should satisfy the finickiest of music critics. He may not have been the greatest lyricist of all time, but you can't deny that dude had a lot to say. As with all of my mixes, a lot of time and effort was put into crafting this mix. I hope you all enjoy it.

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