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viewing 1 To 25 of 29 items
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LP
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PJ 017C-LP
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"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."
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LP
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NSD 170LP
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2024 restock. "J Dilla's Motor City LP."
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2LP
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GSE 781LP
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2023 repress. 2018 release. "The late, great J Dilla is rightly celebrated as one of the greatest hip-hop producers of all time, in part because his ear for music was so diverse and expansive. As Dilla's mother Ma Dukes explains, 'He didn't come with a limited capacity, and real producers produce, produce, and produce. There are no formats for genius workers...just non-stop creations.' Now, a fresh batch of those creations will be made available to the world for the first time, in the form of the latest official J Dilla release, Dillatronic. Presented by Ma Dukes and compiled by DJs Alien Villainz (fellow Detroit natives who worked closely with Dilla), Dillatronic contains over 40 rare instrumentals that showcase Dilla's undeniable electronic influences. J Dilla's music was impacted by the diverse musical history of Detroit -- the birthplace of techno and one of the most important cities in the history of electronic music. 'You can hear it in songs like 'Raise It Up' for Slum Village or 'Make It Hurt' for Busta Rhymes,' says Young RJ (Dilla's protégé and member of Slum Village). 'The Detroit influence is part of what gave him an edge in production.' With today's music sounding more electronic than ever, Dillatronic has a shockingly contemporary feel. 'These tracks are still ahead of their time sonically,' explains RJ. 'The things producers are doing now, Dilla did that 15 years ago.'"
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PJ 017LP
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2024 repress. "When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."
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LP
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VNT 201LP
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2024 repress. "J Dilla is widely regarded as one of the greatest hip-hop producers of all time, having supplied timeless soundbeds for the likes of A Tribe Called Quest, Slum Village, The Pharcyde, Busta Rhymes, Common, De La Soul, The Roots, D'Angelo, Erykah Babu, Madlib, and many more. In 2005, rumors began circulating about an album called Jay Love Japan, a J Dilla solo project inspired by one of Jay Dee's favorite locations to visit on tour. After Dilla's untimely death in early 2006, the album became a lost classic shrouded in mystery, with only unofficial bootlegs and promo versions available. An official CD version was eventually released in 2008, but quickly went out of print. Now, the album is finally receiving the official release it always deserved."
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Cassette
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PJ 015CS
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"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."
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LP
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PJ 016LP
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"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project."
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2CD
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PJ 015CD
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"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro. The CD issue is buttressed by unreleased tracks and includes the music from the EP as it was originally released, the alternate version that Dilla had for the project and complete instrumentals. Author Ronnie Reese expands upon his original liner notes to further tell Dilla's story, in a booklet complete with never before published photographs from the Ruff Draft photo session. This CD issue features first Dilla's original sequence of the EP and then presents Dilla's alternate sequence, with tracks unreleased in 2003, as well as instrumentals. Author Ronnie Reese expansively details Dilla's trajectory at this crucial point in his career, in a booklet complete with never before published photographs from the Ruff Draft photo session."
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2LP
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PJ 015LP
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Re-released post-RSD 2018. "When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's recently discovered mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro. It is buttressed by unreleased tracks and is presented in two versions: LP one is the EP as it was originally released; LP 2 is the alternate version that Dilla had for the project. Author Ronnie Reese expands upon his original liner notes to further tell Dilla's story, in a booklet complete with never before published photographs from the Ruff Draft photo session."
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LP
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YMG 3577416LP
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"Since his untimely death at the all too young age of 32 the world has grown to appreciate the work of J Dilla even more than when he was alive. There's an ethereal quality to Jay Dee's works, part boom bap but more mellow. Mellow, but never soft. And Dilla never stopped making beats, his MPC was by his side until the very end. It now resides in the Smithsonian. Due the prolific nature of his beat making, the world is blessed to have stacks of Dilla material -- some coming to light even this many years after his passing. In the world of hip hop, no one's mother is more famous that Ma Dukes. Go ahead, name check Chuck D's mom or Chance the Rapper's mom or TI's mother -- without hitting Google. And one of the reasons we all know Ma Dukes is her tireless effort to maintain Dilla's legacy. This release is yet another step in that direction. Presented here, from the Official Ma Dukes Collection, are 15 works by Jay Dee from deep in the vaults, being released on vinyl for the first time."
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NMG 35773LP
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"The mark that the late producer J Dilla left upon hip-hop during the 90s and early-to-mid 00s is undeniable. His work with De La Soul, Busta Rhymes, The Pharcyde, and of course Slum Village long been cemented his prominence in the annals of hip-hop history. Of the many words one can use to describe J Dilla's legacy, one that's not used enough is prolific. Dilla made beats constantly. So new Dilla compositions are still being discovered. One of the places where those works are still being unearthed is the archives of the Ne'Astra Music Group, who proudly present here 8 Dilla tracks previously unissued on vinyl. Dilla's legacy continues to be shared and celebrated by today's hip-hop audience -- with help from the tireless efforts of Ne'Astra."
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CD
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YMG 300562CD
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"Jay Dee a.k.a. J Dilla is widely regarded as one of the greatest producers in hip hop history. The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. After careful study and curation this one of a kind collection compiles the well-deserved documentation of Jay Dee's early musical masterpieces. Ma Dukes assembled a team of industry family who spent nine months working daily to bring this project to J Dilla fans everywhere. The King Of Beats feature's 40 tracks from Jay Dee's groundbreaking 'Batches' created using his SP-1200. In addition the CD release contains 'The Lost Scrolls' and an additional 15 cuts created by Dilla on his MPC which was recently donated to the Smithsonian for their National Museum of African American History and Culture scheduled to open to the public in 2016. The King Of Beats is more than a collection of Dilla's unheard works, it's a glimpse inside the mind of a creative genius, a view into Dilla's artistic process and a must have for any who call themselves a fan of his musical legacy."
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YMG 3577010LP
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Repressed. "Jay Dee a.k.a. J Dilla is widely regarded as one of the greatest producers in hip hop history. The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. After careful study and curation this one of a kind collection compiles the well-deserved documentation of Jay Dee's early musical masterpieces. Ma Dukes assembled a team of industry family who spent nine months working daily to bring this project to J Dilla fans everywhere. The King Of Beats feature's 40 tracks from Jay Dee's groundbreaking 'Batches' created using his SP-1200. In addition the CD release contains 'The Lost Scrolls' and an additional 15 cuts created by Dilla on his MPC which was recently donated to the Smithsonian for their National Museum of African American History and Culture scheduled to open to the public in 2016. The King Of Beats is more than a collection of Dilla's unheard works, it's a glimpse inside the mind of a creative genius, a view into Dilla's artistic process and a must have for any who call themselves a fan of his musical legacy."
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LP
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PJ 009LP
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"PayJay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The Estate of James Yancey has revived PayJay as a functioning imprint, and announced the release of J Dilla's long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla's passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla's original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is now available as an instrumental release, featuring production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others."
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LP
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PJ 010LP
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"J Dilla's long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla's passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla's original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is an album of vocal performances recorded between in the early 2000s over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others."
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Cassette
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PJ 007CS
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"Pay Jay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The Diary is presented here in a special limited edition cassette tape."
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PIC. DISC
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PJ 005EP
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Now repressed, originally an RSD 2015 release. "Dilla's classic, out of print for over a decade, remastered from Dilla's original mixes and issued on Pay Jay as a badge-shaped picture disc single for Record Store Day 2015. The Estate of James Yancey revived J.Dilla's Pay Jay Productions as a functioning imprint and announced its release of Dilla's long lost vocal album, The Diary. But before that full-length is issued, Pay Jay now announces the final single to be released from the project. It's a classic in every way. This single of Dilla's anthem was originally released as a standard 12". That vinyl is now rare and out of print. On the Pay Jay issue coming for Record Store Day, both the vocal and instrumental are sourced directly from mix-downs that Dilla himself created."
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10"
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YMG I2V1KOB-10
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"The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. Yancey Media Group now proudly presents the J Dilla Batches series. Each 10" features 10 untitled and unreleased Dilla creations previously found only in the no longer available limited edition The King of Beats' Ma Dukes Collector's Edition Box Set. Like the deluxe box these vinyl offering are limited in nature. So act now while you can grab a piece of hip hop history."
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10"
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YMG I3V2KOB-10
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10"
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YMG I4V3KOB-10
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10"
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YMG I5V4KOB-10
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12"
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PJ 003EP
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Repressed. "'Give Them What They Want' is a special treat - an unheard J Dilla-produced vocal track that has never before been released. It is paired on this release with the Super Dave West version, entitled 'The Doe,' and a second West-produced track, 'No One's Home.' 'Give Them What They Want' was mixed by Dilla himself, and its component instrumental was mixed down to match Dilla's vocal version by Dave Cooley, from Dilla's original multi-track sessions."
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10"
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RDR 001EP
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"Ruff Draft Records presents this limited edition clear 10" vinyl of two Jay Dee produced cuts featuring Big Tone, Guilty Simpson, Finale, and DJ Dez with Danny Brown."
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LP
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PJ 002EP
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"The estate of James Yancey revived J Dilla's PayJay Productions as a functioning imprint and announced its release of Dilla's long lost vocal album, The Diary, with the first Pay Jay single 'Anthem' b/w 'Trucks.' Pay Jay now announces the second single from The Diary with what might be the two best known tracks from the album, as both were issued in bootleg and promotional forms over the years. But these versions -- both final and alternate mixes -- come straight from mixed-down masters that Dilla himself created. 'The Shining Pt. 1,' better known as 'Diamonds' was produced by Virginia's Nottz. 'The Shining Pt. 2,' better known as 'Ice' was produced by Dilla's Jaylib collaborator Madlib. This section deserves particular note, as the album version and 'Ruff Draft' version are so markedly different -- and show the musical direction that Dilla would embark upon after he shelved The Diary in 2002. Rounding out this 12' is a Madlib instrumental that was never turned into the final song, titled 'The D,' that Dilla had hoped to create. We've included this beat as a hint of what could have been. The first press of this 12' features clear vinyl atop an original Jeff Jank sleeve with art by B+ and Shepard Fairey and placed in a thick, fold-over plastic sleeve. Subsequent runs will not have the clear vinyl or the fold-over plastic sleeve."
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2LP
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RDR 004LP
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"Following the success of 2012's posthumous Rebirth of Detroit CD, the official estate of J Dilla is proud to present Rebirth of Detroit Instrumentals. The new album distills Rebirth of Detroit's 21 tracks to a lean 12 beats, never before pressed to vinyl, spanning Dilla's career from Slum Village to Donuts. Containing only carefully sequenced, cherry-picked tracks that span over a decade of work, Rebirth of Detroit Instrumentals serves both as a comprehensive overview of Dilla's style and as a testament to its profound influence on contemporary producers. The LP, packaged with entirely new artwork, offers a rare insight into the mind of an artist who has come to define not only Motor City rap but the entirety of hip-hop from the '90s to today."
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