Check out my first remix in collaboration with Raj E Beats.
He´s on the melodic piano and i´m on the drums and arrangement.

Much love

Phil Tyler & Raj E Beats - The 6th Sense Remix

Original Melody - S.P.D.P. 
From the EP "Banana Sessions" 
Available for free download @ omsessions.com

S.P.D.P.

Vibin - MikeyG x Spacechild (prod. by MonoMassive)

YESTERDAY WAS BASED DAY BUT WE WERE 2 LIT 2 POST 🔥🔥🔥🔥

#BASEDDAY $WAGMOB2K13 BILL CLINTON FREESTYLE #TYBG #OT

17 Back In The Days (remix)

Small Blue Dot

You are bright as the moonlight a breathe of fresh air 
an angel from heaven that's what you are to me
so glad that i found you to make my life complete
so how about some roses or dinner for two
this world is our playground, just you and just me

Home - Blitz The Ambassador

Common - Doinit (Moose Dawa & Max Science Remix)

Life´s...

Instrumental: https://soundcloud.com/tapeheadloops/lifetime-impression-instrumental

Beat, scratches, cuts, mixing and mastering by Tapehead
Visuals: https://youtu.be/zPoxbmlxVGA
Free Instrumental Download: https://tapehead.bandcamp.com/track/lifetime-impression-instrumental

All We Got Iz Us is probably my favourite Onyx album, it doesn’t have a single weak track imo, the album is just mad motivating. I think its mad underrated too, obviously its fairly well known, but cause it came out in ’94 it’s definitely been a bit overshadowed by the insane amount of classic albums that came out that year. To me this album is a classic, one of my favourites from ’94 for sure. The singles are decently known for sure, Last Dayz being the most recognizable, but the whole album doesn’t seem to get as much love as the singles, and the whole project is a must listen to me. Putting the Evil Streets acapella over this beat was one of the best decisions I’ve ever made. I fully can’t believe how well the Onyx acapella fits, its truly nuts to me, and pretty rare that something comes together this well. I’m pretty sure the hook is ‘sung’ in the same key as the sample I flipped, and all the verses fit ridiculously well, but not just the flows, the voices sound right over the beat too. 

I had to go all out when I mixed this beat. The drums are all layered so thick, there’s about 4 hi hats, 6 kicks, and 6 snares which are all mixed together to give the drums a punch which definitely matches Onyx’s style. The way I chopped this sample left some vocals in for split seconds, which sounded like scratches because of them being right at the end of a chop and cut off, like how a fader cuts out a scratch when the DJ spins a record back. I thought this sounded cool but it only happened once in each 2 bar loop of the sample, so I decided to add some of my own scratches from a few break records I have. I used ‘Super Seal’, and recorded some scratches of snares and the famous ‘yo’ sample at the BPM of the beat. Layered with the drums this sounded crazy to me, it gave the beat a different vibe, I’ve definitely said before how much I love how scratching sounds, and it was cool to incorporate it into this beat in a more permanent, less obvious way, not just something for the hook. Normally I don’t like how censored acapellas sound over beats, but I think with this one it works, because of all of the scratches and cuts that play in the beat, it sort of makes the gaps in the verses make more sense as if the record was being cut up, and then sometimes the scratch/break fills up a gap left by a word being censored, it was definitely a part of what made this acapella work so well over the beat. I also layered the sample 3 times, 2 filters, one high one low, and a standard mix, which I layered, soloed etc throughout the track. This was unbelievably long to do without quantization (which is how I flipped the sample originally), so all 3 had to perfectly match each other, which took hours to sequence. I fully kept giving up but knew the beat needed the layers on the sample to really do it justice (especially the groove that’s added by filtering the lows), so I just stuck by it, and sequenced each chop individually, so I was hitting the pad at the exact right time, which ended up with the beat sequence being 30 tracks on the MPC (they’re usually 15 or so). It was definitely necessary to do this, because the contrast of the smooth flows of the low end to the scratches and samples really gives the track variation, and gives it a lot more presence throughout, definitely was worth the time and effort.

This is by far the happiest I’ve been with a remix in time, and it’s all positive, because making this has given me an unbelievable boost in energy music wise, and I’m mad excited to make the next beat, and now for the first time I’m equally as excited about mixing and mastering, because of what I was able to achieve with this one. 
Peace.

Lifetime Impression

Instrumental: https://soundcloud.com/tapeheadloops/watch-me-speak-instrumental

Beat, mixing and mastering by Tapehead
Vocals from 'One Love' acapella by Nas
Visuals: https://youtu.be/teRpSeR39VE

As soon as I’d flipped this sample I knew I was putting One Love over it. I started spitting the verses in my head and was just bugging out. In my opinion, the song is one of the greatest ever written, and this verse is probably the best minute and a half of Illmatic for me. When I first heard the song it really changed my perspective on what music could be, and over the years different aspects of Nas’s verse continue to stand out to me, what he’s talking about is ridiculously layered and complex, and the way it's done is crazily profound it's just mad. I actually wrote an essay on this song a few years ago at university, and for my research I read ‘One Love, Two Brothers, Three Verses’ by Michael Eric Dyson from the book Born To Use Mics, Reading Nas’s Illmatic, who writes “at the heart of Nas’s description is a veiled lament of the illicit lifestyle that snares young lives, not a boast of the drug seller’s gain or glory.” This is what makes the song so powerful to me, and combined with the fact that the song is structured as a letter Nas is sending to someone in prison who is powerless to do anything to change the situation just adds so much to the atmosphere and attitude of the song. Nas is speaking on how things are in the most serious, compelling and tragic way is what I’m trying to say, and its always resonated with me crazily. 

It’s a blessing to be able remix this verse, I really am thankful that the acapella was released on the official 12”. I’ve remixed One Love a few times but I’ve only remixed the 3rd verse one other time, I’m always conscious about having to do it justice. This beat’s atmosphere got me too excited though, I think it matches the seriousness of what Nas is talking about, and I only tend to put this acapella over beats with emotion. Making this beat I was completely going off of the emotion in the sample, it was actually ridiculously long to flip because I was cutting different parts of one song together. The first 2 bar loop came to me pretty quickly but it took ages to work out the next 2 bars, because I was cutting different sections of the song together, so I had to find notes that made sense with the ones I had already flipped, and continued the melody in a way that made sense musically. It took a long time but I gradually worked it out through trial and error, and I was unbelievably gassed with the melody before I had even added drums to it, which is always a good sign. The loop reminded me of the time I made the beat for Night Time Writing, almost 3 years ago now. That was also a very emotional sample, and the feeling I got when I made that beat is exactly how I felt when I put this one together, like I conveyed the exact emotion through the chops that I wanted. Overall I’m just ridiculously happy with how this beat came out, I put my whole soul into this one, and it was worth all the time and effort for sure.

Peace.

Watch Me Speak

Beatmaker / Emcee
Contact: tapeheadloops@gmail.com

<--MPC2000 Classic                     

Underground Airplay

Trying to give something back to Hip Hop - really appreciate any comments or feedback.

Peace

Lifetime Impression

Tapehead

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