Challenging Complex magazine's designation of it as one of hip-hop's best 'one hit wonders', Miilkbone's 'Keep it real' has continued to shape hip-hop musical culture well into the 2000s ... and this is where it gets interesting.
At its heart sample-based music has the potential to upset traditional notions of success, whereby a so-called musical failure - in a commercial sense - can become prized, as within this milieu something forgotten is more appealing just because it's unknown.
Little-known samples operate as a kind of code between producers and fans; those who can hear it, those who recognise it. And the music is also shown respect by the very fact that it has been returned to, reborn.
The fact that samples can't be named (even though they are easily found on-line via the many websites devoted to this) because of copyright infringement fears adds another dimension to the mix. For all these different reasons these sounds exist in this kind of non-space.
It is for this reason Miilkbone - the white rapper from New Jersey, with a knack for spoof-like album titles (his lp Da' Miilkrate from 1995 was followed up by U Got Miilk? six years later) - can produce something of ongoing cultural worth.
Produced by Mufi (I couldn't find anything online about him, other than very basic credits, 'an old school producer from Capitol Records ..') this instrumental is another example of hip-hop 'quiet' for me. Indeed, its distinctive mood is what has kept it alive.
(Central to this is Mufi's highly skilful and imaginative use of a sample from 'Melancholy Mood' the 1983 recording by the Marian McPartland Trio, of course: have a look at the fan comments below the video, it's very sweet to see the two worlds colliding here).
As with the earlier Onyx instrumental, what I like about this is its elemental simplicity: the way the music is carried, or not, by a lack of adornment. The sounds in their pure form are allowed to breathe.
Also avoided is much of the self-conscious fanciness that dominates so much 'soul-based' production in hip-hop these days, where producers rustle up multiple interlocking elements in an effort to show off their finesse (often drowning out the sample's essential lyricism, or the emcee's delivery in the process).
This quiet is also to be found in the sharp contrast of the sounds: the insistent and jagged horn sample, is it? and the piano on a constant repeat. There is a certain false naïveté about this music, which I appreciate, in that simplicity and reticence are often the markers of great beauty.
Again, I notice the strange kind of non-momentum - that stop-start - and the way it often seems on the cusp of development, with the quietest sample, in the background, acting like a bridge that goes nowhere.
This music contains its own entire universe. When you hear the instrumental with Miilkbone over the top, the music retains its own space as if completely uninterested in interacting with, or buffering, the emcee.
In terms of the instrumental's ongoing significance and recognition, Big L and Jay-Z reinvented it the same year on the Stretch and Bobbito show; it has been used on a BET awards ceremony and by various emcees.
Most important though, almost two decades later, Freddie Gibbs re-applied the music in his 2010 track 'The Ghetto' (produced by Melvin L. Dinkins) on his album, Str8 Killa No Filla with no apparent changes.
Without getting too abstract or meta, I wonder if by using this sample Gibbs - and his producer - is asking us to listen to the two tracks together; his and the earlier Miilkbone, to encourage a kind of echo, or commentary.
This is fascinating for me the way hip-hop constantly re-applies this notion of layering and echo, obviously via the sampling - hidden, or in this way explicit - or the track construction itself and then through direct acts of homage such as this.