The Produce Section I 11 Nasheim Myrick and Carlos “6 July” Broad’s beats of excellence
In our latest installment of our series, we celebrate and highlight 11 of the most iconic beats that have defined the duo’s reputation behind the boards.
REVOLT TV presents ‘The Produce Section,’ a column where we put the spotlight on the men and women behind the beats we love so much and their contributions to theculture as a whole. From profiling and interviewing the hottest producers of today to acknowledging the greatest producers of all-time and delving deep into their discographies, The Produce Section is the hub where beats, rhymes and life connect.
Producers have long been the backbone of rap music, providing emcees and rappers alike with the sonic backdrops over which they bare their souls, and share their stories. Rap artists may get much of the fanfare and are front and center. However, without the producer toiling away behind the scenes, crafting the instrumentals, then, the lyrics would be reduced to spoken word, and hip-hop would be nonexistent as we know it.
In this edition of The Produce Section, we cover Nasheim Myrick and Carlos “6 July” Broady, who have both helped in crafting the sound of east coast hip hop. They are members of a highly respected production unit in hip hop history. Hailing from New York City and Memphis, Tennessee, Myrick and Broady have combined their talents as two of the leading boardsmen for The Hitmen, Bad Boy’s stable of production talent that has been responsible for the label’s success of classic records. As accomplished producers in their own right, the pair caught their stride after teaming up on various occasions. Broady’s live instrumentation perfectly complements Myrick’s crate-digging and drum programming. Responsible for many definitive rap songs of the ’90s, the duo is highly regarded among fans in peers individually. But, they will forever be tied together through their undeniable chemistry and work with some of the greatest artists of their era.
In our latest installment of our series, we celebrate and highlight 11 of Nashiem Myrick and Carlos “6 July” Broady’s most iconic beats that define their excellence behind the boards.
1. “Who Shot Ya”
Nashiem Myrick made his presence known on the production circuit with this sparse composition, sampling “I’m Afraid the Masquerade Is Over” by David Porter. Released amid controversy surrounding the subject matter of the song, this banger generated plenty of chatter regarding the brewing beef between east and west coast acts in hip hop. The track is most memorable for The Notorious B.I.G.’s flawless execution and the tracks haunting backdrop.
2. “Queen Bitch”
The two concentrated their forces to deliver this backdrop for Lil Kim’s classic solo debut. Pairing a riff from Roberta Flack’s “Hey, That’s No Way to Say Goodbye” with drums pilfered from “CB#5” by Ralph Vargas and Carlos Bess, Myrick and Broady add to their collection of collaborative efforts.
3. “Can’t Nobody Hold Me Down”
Listeners were hit with a blast from the past for Diddy’s coming-out party as a rapper when Myrick and Broady looted Grandmaster Flash and The Furious Five’s 1982 single, “The Message”. Boasting drums lifted from Michael Jackson’s 1979 hit “Rock With You,” this record was dominant on the charts, peaking at No. 2 on the Billboard Hot 100 which accounts for Myrick and Broady’s biggest hit during their respective tenure at Bad Boy.
4. “Somebody’s Gotta Die”
The black Frank White’s narrative is sound tracked by Myrick and Broady on this opening number from The Notorious B.I.G.’s Life After Death. Built around elements of The Dramatics’ 1971 hit “In the Rain,” this riveting tale of retaliation stands among the pairs earliest joint efforts and is indicative of their undeniable chemistry.
5. “Niggas Bleed”
The pair is joined by fellow producer Stevie J for this layered salvo from The Notorious B.I.G.’s swan song Life After Death. Lush with live instrumentation, this track finds the trio reworking a sample of “Hey, Who Really Cares?” by The Whispers to create the ambiance for this epic tale from Biggie.
6. “My Downfall”
Vocals from Run-DMC bespectacled member get chopped and reworked by Myrick and Broady, as the two create an air of paranoia with their work on this cut from Life After Death. “For the Good Times” by Al Green helps comprise the foundation, while an interpolation of “You’re All I Need to Get By” by Marvin Gaye and Tammi Terrell serves as the icing on the cake.
Walter Jackson’s 1966 soulful release of “Speak Her Name” gets hijacked for this ominous number from Capone-N-Noreaga’s ballyhooed debut, The War Report. Produced by Myrick and Broady, this brooding number helped put the Queens rap duo on the map and remains an anthem within the five boroughs and beyond.
8. “Take What’s Yours”
Kicks and snares from Run-DMC’s 1983 single “Sucker M.C.’s (Krush Groove 1)” get repurposed for this deep cut from Ma$e’s Harlem World. Featuring DMX, the track helped set the tone for one of Bad Boy’s most successful albums to date and extended Myrick and Broady’s legendary mid-’90s run.
9. “What You Want”
Myrick’s reputation as a boardsman was largely built via credits on landmark rap albums. But, he showcased his range with this silky offering, pairing Ma$e with Bad Boy label-mates, Total. Guitar riffs Curtis Mayfield’s 1973 release “Right on for the Darkness” gets bolstered, with Myrick accentuating the classic with thumping percussion; resulting in a record that peaked at No. 6 on the Hot 100.
10. “You Must Love Me”
Nashiem Myrick manned the boards by his lonely for this contribution to Jay-Z’s In My Lifetime: Vol. 1. Stripping elements from “What Am I Waiting For” by The O’Jays, the producer crafts a powerful composition, over which Hov unpacks his personal demons.
11. “Project Windows”
Myrick and Broady venture outside of the Bad Boy family tree to link with Nas, who enlists the dynamic duo to contribute this heartfelt soundscape for his fourth studio album Nastradamus. Relying on their musicianship, the pair enrich the track with classical piano keys, 808s, synths and cymbals; while the Trackmasters commandeer the mixing process, resulting in this crown jewel from Nas’ oft-maligned solo set.
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