Year: 2006 Audio Codec: FLAC (.flac) Rip: tracks+.cue Length: 00:43:38 01. Donuts (Outro) (0:13) 02. Workinonit (2:57) 03. Waves (1:39) 04. Light My Fire (0:36) 05. The New (0:50) 06.
Stop (1:39) 07. People (1:24) 08. The Diff’rence (1:52) 09.
Mash (1:31) 10. Time- The Donut of the Heart (1:39) 11. Glazed (1:21) 12. Airworks (1:45) 13.
Lightworks (1:55) 14. Stepson of the Clapper (1:01) 15. The Twister (Huh, What) (1:17) 16. One Eleven (1:11) 17. Two Can Win (1:47) 18. Don’t Cry (1:59) 19.
Anti-American Graffiti (1:54) 20. Geek Down (1:20) 21.
Thunder (0:54) 22. Gobstopper (1:05) 23. One For Ghost (1:18) 24. Dilla Says Go (1:16) 25. Walkinonit (1:15) 26.
The Factory (1:24) 27. U-Love (1:01) 28. Last Donut of the Night (1:40) 31. Donuts (Intro) (1:12) Password to the archive: hiphoplossless.
Description - Email me if you are looking for an album in Lossless/FLAC (even obscure ones). I'd be willing to send you a link to it if you would share the album on publicbt/thepiratebay after you finish downloading it. My email: - Lossless/FLAC Includes: Log/Cue Donuts was made on a hospital bed and in a home studio, on a stripped-down setup with a stack of vinyl.
Released on its maker's 32nd birthday, three days before he passed away, the album has a resonance deeper than anyone could've hoped for or even imagined. Some who were close to Dilla have said that there are hidden messages in the samples, the track titles, and who knows where else.
It's impossible not to speculate about some things, like the track titled 'Don't Cry,' the looped 'broken and blue' from a version of 'Walk on By,' the presence of Eddie Kendricks singing 'My people, hold on,' or the fact that there are 31 tracks, a possible signal that Dilla survived a little longer than he expected. Then again, for every possible message, there are two or three elements that could've been designed to throw any analysis off its trail. After all, if there's one single image that the disc brings to mind, it's that of Dilla goofing off, having fun with some of his favorite records, and messing with some heads in the process. (And you could probably make the album's title out to be a metaphor for the circle of life, but sometimes a donut is just a donut.) Armed with sources that are either known to novice sample spotters or only the most seasoned diggers - surprisingly, the former greatly outweighs the latter - Dilla's also just as likely to leave his samples barely touched as he is to render them unrecognizable. It's fitting that Motown echoes, a predominant theme, are often felt, from the use of Dionne Warwick's Holland-Dozier-Holland-written 'You're Gonna Need Me' (on 'Stop'), to the shifting waves of percussion plucked from Kendricks' 'People. Hold On' (on 'People'), to the Stevie-like piano licks within Kool & the Gang's 'The Fruitman' ('The Diff'rence').
Most of the tracks fall into the 60-90 second range. It's easy to be overwhelmed, or even put off, by the rapid-fire sequence, but it's astounding how so many of the sketches leave an immediate impression. By the third or fourth listen, what initially came across as a haphazard stream of slapped-together fragments begins to take the shape of a 44-minute suite filled with wistful joy.
Like everything else Dilla has ever done, Donuts is not defining; in fact, elements of its approach bare the apparent influence of Jaylib collaborator Madlib. His mode has always been too slippery and restlessly progressive to be equated with any one track or album, but Donuts just might be the one release that best reflects his personality.
J Dilla Donuts Youtube
Contents. Background J Dilla had been diagnosed with an incurable blood disease named in 2002, and he had also been diagnosed with previously. According to close friend and fellow producer the impetus for Donuts came during an extended hospital stay in the summer of 2005. In the December 2006 issue of magazine, J Dilla's mother, Maureen Yancey, a former singer, spoke of watching her son's daily routine during the making of Donuts: I knew he was working on a series of beat CDs before he came to Los Angeles.
Donuts was a special project that he hadn't named yet. This was the tail end of his 'Dill Withers' phase, while he was living in,. You see, musically he went into different phases. He'd start on a project, go back, go buy more records and then go back to working on the project again. I saw him all day, everyday.
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I would go there for breakfast, go back to Detroit to check on the daycare business I was running, and then back to his house for lunch and dinner. He was on a special diet and he was a funny eater anyway. He had to take 15 different medications, we would split them up between meals, and every other day we would binge on a brownie sundae from Big Boys. That was his treat.
I didn't know about the actual album Donuts until I came to to stay indefinitely. I got a glimpse of the music during one of the hospital stays, around his 31st birthday, when friend and producer House Shoes came out from Detroit to visit him. I would sneak in and listen to the work in progress while he was in. He got furious when he found out I was listening to his music! He didn't want me to listen to anything until it was a finished product. He was working in the hospital. He tried to go over each beat and make sure that it was something different and make sure that there was nothing that he wanted to change.
'Lightworks', oh yes, that was something! That's one of the special ones. It was so different. It blended classical music (way out there classical), commercial and at the same time. Composition Donuts is an album; the only lyrics on it are short phrases and gasps taken from various records. Donuts contains 31 tracks (same as J Dilla's age at the time of recording ), most of which are short, 1–1.5 minutes each, and vary in style and tone.
Called the album 'a conversation between two completely different producers'. The original for the album compared it to scanning radio stations in an unfamiliar city. The track order is also unusual: the album begins with an outro and ends with the intro.
According to Collin Robinson of, 'it's almost too perfect a metaphor for Dilla's otherworldly ability to flip the utter shit out of anything he sampled'. The ending of the final track flows right into the beginning of the first one, forming an infinite loop, and alluding to ' circular form. Recording In 2005, J Dilla underwent treatment at for complications brought on by TTP and a form of. While in hospital, he worked on two albums: Donuts and.
29 out of 31 tracks from Donuts were recorded in hospital, using a sampler and a small 45 his friends brought him. Records his mother and friends would bring were used as the source of the samples for the album. She recalled it in the Crate Diggers documentary: When I took the crate up, and he looked through it, I think out of a whole milk crate full of 45s, I think he might have taken a dozen out of there and set them aside.
He said 'you can take that back to the house'. He said 'none of that's good'. Throughout the year his condition worsened. His legs swelled, making it difficult to walk. At times his hands swelled so much he could barely move them. If the pain was too intense, his mother would massage his fingertips, so he could continue working on the album. Sometimes he'd wake up in the middle of the night and ask his mother to move him from his bed to the instruments.
According to Kelley L. Carter of, J Dilla told his doctor he was proud of the work, and that all he wanted to do was to finish the album. While working on the album, Dilla didn't allow anyone to listen to the unfinished version. He got furious when he found out his mother listened to it while he was in. Release and promotion Donuts was ready to be released by October 2005, but according to, their distributor, 'didn't think a weird, difficult instrumental album by an underground producer would move the projected 10,000 copies', since Dilla's previous album, failed to achieve commercial success. Later the label came to an understanding with the distributor and the album was set for release in early February 2006, along with a bonus single 'Signs'. Donuts was released on February 7, 2006, J Dilla's 32nd birthday.
To celebrate this, his friends, Egon, and, stopped by his house. However, they weren't prepared for what they saw: J Dilla, who used to be energetic despite his health condition, now was mumbling and gesturing weakly. Three days later, on February 10, 2006, he died at his home in,. According to his mother, the cause was.
Donuts: J Rocc's Picks. Main article: To promote the album, Stones Throw, in association with and, released a limited edition called Donuts EP: J. Rocc's Picks. The EP contained five extended versions of Donuts instrumentals and the bonus track, 'Signs'. Copies of the EP were given away on (WMC) 2006 and (SXSW) 2006. The label later started selling of the EP on their official site. Rereleases In January 2013, the album was rereleased as a.
Apart from seven it contained a bonus 7-inch with tracks 'Signs' and 'Sniper Elite & Murder Goons', featuring and. A number of music journalists criticized the box set, stating that the album should be listened as a whole and shouldn't be split.
On September 27, 2014, Donuts was released on, as a part of. In February 2016, on Donuts's 10th anniversary, LP version of the album was rereleased. It included the original cover art with Jeff Jank's drawing on it, new drawing on the back, and liner notes by Jordan Ferguson, containing an excerpt from his book Donuts from about the making of the album. Aftermath Dilla's death, three days after the album's release, was widely mourned by the hip hop community, including all those who worked with him in the past and the years closer to his death, especially 's hip-hop community (which included rapper, a friend and associate of Dilla's, who also died 2 months later on April 11). In regards to the name, 'Donuts,' The New York Times published an article on Dilla's death, on February 14, 2006, saying: The record company issued a brief note about the title: Easy explanation. Dilla likes donuts. Yesterday his mother managed a chuckle when she confirmed that fact.
I just bought two dozen a week ago, she said. Reception Professional ratings Aggregate scores Source Rating 84/100 Review scores Source Rating B+ 10/10 4/5 7.9/10 (2006) 10/10 (2012) 9/10 Donuts was released to highly positive reviews from music critics.
The album holds a score of 84 out of 100 on the review aggregate site, indicating 'universal acclaim'. Will Dukes of wrote that Donuts showcases Dilla paying homage to 'the selfsame sounds he's modernized', and in that sense, the album 'is pure postmodern art—which was hip-hop's aim in the first place.'
' Michael Frauenhofer described Donuts as an 'album of explosions and restraint, of precisely crafted balances and absurd breakdowns, of the senselessly affecting juxtaposition of the most powerful of dreams.' 's noted Dilla's 'ability to twist and contort samples into unrecognizable new forms' and concluded that 'as an album from one of rap's most revered producers on one of hip-hop's most respected labels, Donuts would qualify as a fairly major release under any circumstances, but J Dilla's recent death lends it additional significance and gravity.' Andy Kellman of wrote that Donuts 'has a resonance deeper than anyone could've hoped for or even imagined' given Dilla's passing shortly after its release, and ultimately 'just might be the one release that best reflects his personality'. Giving it a three-star honorable mention rating in his review for, called Donuts 'more about moments than flow, which is strange when you think about it'.
In an 2007 guest column for Pitchfork, of stated that Donuts was 'By far the album I've listened to most over the past year, and I feel like almost any of the songs off there I could say is my favorite.' Online music service ranked the album at number three on its 'Hip-Hop's Best Albums of the Decade' list.
It ranked number nine on 's Essential 50 countdown in April 2009, and the magazine later wrote that its 'legacy is undeniable'. In a 2012 review of the Donuts 45 box set, Pitchfork accorded the album a revised 10/10 rating, with critic Nate Patrin writing: 'It's a widely praised favorite for so many people, and yet there's something about Donuts that feels like such an intensely personal statement'., in 2017, called it a 'tour de force in postmodern beatmaking'. This section does not any.
Unsourced material may be challenged and. (November 2016) The tracks 'One for Ghost' and 'Hi' were used in 's, under the names 'Whip You With a Strap' and 'Beauty Jackson', respectively. Ghostface Killah also used 'Geek Down' for the song Murda Goons released on his album. And used 'Gobstopper' and 'Last Donut of the Night' as beats for 'Just Another Day at the Range' and 'Best That Ever Did It.' 'Workinonit' was used by for a collaboration with for the album Game Theory, however it was not included out of respect for Dilla's passing.
The verse from Saigon can be heard on his mixtape Return of the Yardfather. J Dilla's posthumously released album The Shining, also released with new verses on Common's Finding Forever, uses a re-edited version of 'Bye.' The aforementioned tracks were, for the most part, recorded or planned during Dilla's lifetime. After Dilla's passing, The Roots used 'Time: The Donut of the Heart' for their J Dilla tribute 'Can't Stop This' on the album. In 2005, the track 'Mash' was rapped over by and Guilty Simpson on the track 'Mash's Revenge' feature on the Stones Throw compilation 'B-Ball Zombie War'.
DOOM also used 'Anti-American Graffiti' which appeared on the Dilla Ghost Doom release, under the track name 'Sniper Elite'. DOOM later used 'Lightworks' on a track of the same name on his album.
'Lightworks' was also used for the 'B-Ball Zombie War' track 'Lightworking,' which features and. Added a verse to Q-Tip and Talib Kweli's on 'Lightworks'. This was included in his Dillagence mixtape, 2007. Has used many of the album's tracks as during the programming block.
Adult Swim, which has been in a partnership with Stones Throw records, cited the track 'Stepson of the Clapper' as their addiction. Many other rappers and hip hop artists have started to use various beats from Donuts. Also recorded a track titled, 'Only One Can Win' using J Dilla's track 'Two Can Win.'
The song is a tale about a man choosing between rap and a woman. He pays respect to Dilla in the beginning of the song. Talib Kweli has used 'Bye' on a track called 'I Feel You' from the mixtape Blacksmith: The Movement and 'Dilla Says Go' on a track called 'Kweli Says Go' from the mixtape with 'Get Familiar'. Had used 'Gobstopper' for a track titled 'Plastic Cups', and he also used 'One Eleven' for a track with the same name featuring O-Dash on a mixtape with Mick Boogie. Used 'Time: The Donut of the Heart' in a song called 'Where to Now' on his mixtape Comeback Season (2007).
Created a mixtape titled And Then They Played Dilla rapping over tracks from Donuts. He also created a sequel, which is named 'And Then They Played Dilla 2'. Rapper has recorded tribute tracks using 'Two Can Win' and 'Last Donut,' among others. Used 'Gobstopper' for his track 'Abracadabra' and several other Dilla beats for various tracks of his Victory mixtape. Released Thanks For The Donuts, a tribute EP using J Dilla beats, on February 7, 2011 (Dilla's birthday as well as the fifth anniversary of Donuts). Has also released freestyle which uses the beat for 'Two Can Win', and uses the same title.
Released 'The Season' on October 30, 2014 which uses 'Gobstopper' as the backdrop for his track. J Dilla is listed as the producer. Used 'The Diff'rence' on the track 'Of' from his August 29, 2015 mixtape 'Pharaoh Height'. In 2017, used 'Workinonit' as the theme music for his two Netflix stand-up specials.
Track listing No. Title Length 1.
'Donuts (Outro)' 0:11 2. 'Workinonit' 2:57 3. 'Waves' 1:38 4. 'Light My Fire' 0:35 5. 'The New' 0:49 6. 'Stop' 1:39 7. 'People' 1:24 8.
'The Diff'rence' 1:52 9. 'Mash' 1:31 10. 'Time: The Donut of the Heart' 1:38 11. 'Glazed' 1:21 12. 'Airworks' 1:44 13. 'Lightworks' 1:55 14. 'Stepson of the Clapper' 1:01 15.
'The Twister (Huh, What)' 1:16 16. 'One Eleven' 1:11 17. 'Two Can Win' 1:47 18. 'Don't Cry' 1:59 19. 'Anti-American Graffiti' 1:53 20.
'Geek Down' 1:19 21. 'Thunder' 0:54 22. 'Gobstopper' 1:05 23.
'One for Ghost' 1:18 24. 'Dilla Says Go' 1:16 25. 'Walkinonit' 1:15 26.
'The Factory' 1:23 27. 'U-Love' 1:00 28. 'Last Donut of the Night' 1:39 31. 'Welcome to the Show' 1:12 Personnel Credits are adapted from the album's liner notes. J Dilla – producer.
– executive producer. Dave Cooley – mastering. Jeff Jank – design. Andrew Gura – photography Charts Chart (2006) Peak position US 21 References.
Retrieved February 21, 2014. Retrieved 2015-04-01. Retrieved 2015-04-01.
18 November 2006. Retrieved 22 September 2017. Soderberg, Brandon (15 February 2012). Retrieved 22 September 2017. ^ Frauenhofer, Michael (February 13, 2006).
Science. Old NCERT vs New NCERT:Download Old NCERT books PDF Free -Hindi & English. It is essential to read old NCERT books for History as new edition is. NCERT Books on History for Class 6 to 12 (Free and Trusted PDF Download). (Download PDF) NCERT Hindi Class 7 History (Download PDF) NCERT Hindi Class 8 History. (Free and Trusted PDF Download). Download Fine-Arts NCERT Text Books and CBSE Books (in Hindi and English). History NCERT Books. Categorised list of NCERT text books in Hindi Medium. (NCERT History Book in Hindi). Download pdf Hindi, cbse board books, ncert poltical science books, ncert books in hindi, ncert books in english, free ncert books, download ncert books in pdf, pdf.
Retrieved September 14, 2015. ^ Kellman, Andy. Retrieved September 14, 2015. ^ Relic, Peter (February 1, 2006). Archived from on May 28, 2007. Retrieved September 14, 2015.
April 16, 2009. Retrieved February 14, 2012. ^ Robinson, Collin (5 February 2016). Retrieved 23 September 2017. Heaton, Dave. Retrieved 23 September 2017. ^ Soderberg, Brandon (1 February 2013).
Retrieved 23 September 2017. Retrieved 22 September 2017. Aku, Timmhotep (5 April 2006). Retrieved 22 September 2017.
^ Patrin, Nate (January 16, 2013). Retrieved January 16, 2013. ^ Roper, Tamara. Retrieved 22 September 2017.
^ Carter, Kelley L. (23 February 2006). Archived from on 18 February 2012. Retrieved 22 September 2017. Hardy, Ernest (14 February 2006).
Retrieved 8 October 2017. (14 February 2006). Retrieved 23 September 2017.
Retrieved 23 September 2017. Minsker, Evan. Retrieved 23 September 2017. Martin, Andrew.
Retrieved 23 September 2017. Kaye, Ben (24 August 2014). Retrieved 23 September 2017.
Lee, Morgan (5 February 2016). Retrieved 23 September 2017.
Retrieved 23 September 2017. Sanneh, Kelefa (February 14, 2006). The New York Times. ^ (February 21, 2006). Retrieved September 14, 2015.
Software user manual. Bosch WFMC3301UC Pdf User Manuals. View online or download Bosch WFMC3301UC Operating, Care And Installation Instructions Manual.
^ Diver, Mike (February 13, 2014). Retrieved September 14, 2015. (February 10, 2006). Retrieved September 30, 2016. Perlich, Tim (February 2, 2006).
Retrieved September 30, 2016. ^ Dukes, Will (February 8, 2006). Retrieved April 25, 2013. 'J Dilla: Donuts'. 'J Dilla: Donuts'. (August 2009). Retrieved September 14, 2015.
(February 15, 2007). Retrieved March 22, 2011. Chennault, Sam (October 31, 2009).
Archived from on November 4, 2009. Retrieved January 12, 2010. 'Glitch Perfect'. January 2017. Retrieved 2013-04-25.
May 5, 2006, at the. Donuts (liner notes). Los Angeles, California:. Donuts (liner notes). Los Angeles, California:.
2014 First released 2006. Retrieved September 24, 2017.
Works cited. Ferguson, Jordan (2014).
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J Dilla's Donuts. External links.
at (list of releases).
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Contents:. 2001 - Welcome 2 Detroit. 2005 - Welcome 2 Detroit Instrumentals.
2006 - Donuts. 2006 - The Shining. 2006 - The Shining Instrumentals.
2007 - Ruff Draft. 2009 - Jay Stay Paid.
2012 - Rebirth of Detroit. 2016 - The Diary. 2016 - The Diary Instrumentals M (base64): aHR0cHM6Ly9tZWdhLm56LyNGIWhuUlV5VFliIVNqcVppTnB3Tnp3dTdZbHloWEJzTHc= Enjoy, and as always PLAY IT LOUD!
Making a brilliant album is not an easy thing to do. Making a brilliant album whilst dying is even harder. Donuts was released on February 7th on James Yancey's 32nd birthday. 3 days later he passed away. Recorded whilst in his hospital bed, heavily medicated and dealing with the pain of a rare blood disease that would eventually take his life - this album is a testament to immense emotive and positive creativity in the face of physical and emotional hardship. Widely received as one of his best albums, the album is an exercise in the chop, layer, and loop aesthetic that is the requisite of any self-respecting hip-hop producer.
Yancey mastered his craft throughout his career though, not just at the end of it. He was producing for some of hip-hop's A-listers at an early age (Busta Rhymes, Tribe Called Quest, Erykah Badu), and later moved on to live instrumentation and was widely regarded as the driving creative force behind the Soulquarians (which consisted of The Roots, D'Angelo, Erykah Badu, Common and Mos Def to name a few). He later produced electronic heavy beat-tapes that were widely circulated and whose stylistic signatures still resonate today. Donuts however saw him coming back to some sampling equipment and a stack of vinyl.
Despite sourcing from quite an obvious pool of samples (Michael Jackson, Diana Ross, 10CC, ESG), J Dilla still demonstrates an incredible ear in the tiny nuances and subtleties displayed in the compositions. On first listen, the scrap-book style sloppiness ends up defining what was actually laboured on for hours. In the aftermath of his death, Yancey's final messages are manifested on very close inspection of this work. He knew this would be his final piece of work to offer the world; a final farewell. He communicates with the subtlety that only a producer of his ilk and talent could pull off without pretension or need for overstatement.
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