Of interest is that moment where the person seeking out new music stops, that moment when a song quells the impatience, or desire to discover one more track, one more hit. The music that interrupts the “digging,” if you prefer, across genres, eras, associated with labels, musicians, whatever the self-imposed limits might be. The music that stops the person zoning out and gives them pause, as it’s here in that moment that we can see the grain of personality.
As someone afflicted by music-compulsion-fixation, or to put it more positively, someone who listens to an enormous amount of music daily because of my restless essence and “for work,” a typical day – no correct that, a typical morning/early afternoon - might move from gospel to dub, House, disco, 80s Australian indie (if feeling homesick/sentimental) to end on classical music or jazz albums (to instil order, help me focus when I sit down to write, or provide the soundtrack for cooking dinner, folding clothes, throwing out papers, whatever the activity might be).
Always in the midst of this there will be a mix of some hip-hop instrumentals.
Some of them will be YouTube recommendations, but mostly they’ll be my choices, music to echo energy, or connect with something that interests me and I want to understand better. Often my search will be for something “simple” - music clear in its intention that doesn’t require too much thought – but equally it could be music that derives from obligation, the perceived need to listen to this artist, that release because it’s new or said to be important.
Hip-hop instrumentals then. It surprises me that their appeal has been so constant, since picking up the genre again; why aren’t I more taken by MC-led tracks, especially since I’m so “wordy” walking around the streets, doing my stuff, with all those sentences taking shape in my head? Of course I have written on a fair number of MCs, still. A large part of it is curiosity about sample-based production and admiration for its essential conceit. There is still something magical about this process of reconstruction for me, where music is created from the scraps from another’s imagination/creativity. Political too, when it’s remembered who is making this music – for the most part – and the circumstances in which it’s done.
Each story of a twelve year-old boy (and it is still a boy, unfortunately) starting out – despite all and everything - and then their total dedication to learning their craft impresses me. Geto Boys’ DJ Ready Red who recently passed away, for example, shares memories of his grandmother coming in to find his teenage self asleep with “headphones wrapped all around (him)” because he’d be “sleeping with the drum machine, or be asleep at the turntables” in Lance Scott Walker’s Houston Rap Tapes, published this year.