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A Hyphy History with Producer Trackademicks

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Trackademicks stands in a white jacket with black sunglasses, posing for the camera.
Trackademicks stands in a white jacket with black sunglasses, posing for the camera.  (Maria Gates)

In 2006, when music producer Trackademicks remixed the smash hit by E-40 and Keak Da Sneak, “Tell Me When To Go,” he created a cultural jewel that sent waves throughout the Yay. The remix took a seminal song from the Hyphy Movement, added a unique wrinkle, and then proceeded to make faces melt.

The track could be heard at pep rallies in the valley, in nightclubs in San Francisco and blasting out of the front grill speakers of Chevy vans as they smashed through Deep East Oakland.

Trackademicks, a half-Black and half-Filipino guy who was raised in Alameda, looks at his own lineage and says remixing things is in his DNA, literally.

It was already in the music too. The Hyphy movement has its own history of mixing genres, which allowed it to birth something unique in The Bay.

Now, as a number of rappers (including Trackademicks) make music that harkens back to that era, we thought it’d be a good time to discuss how the big sun glasses, fun dances, and uptempo music of the Hyphy Movement came to be.

Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks.  Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B.

Pendarvis: I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.

Pendarvis: What’s the first hyphy song you ever heard?

Trackademicks: I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.

Trackademicks: The beat’s by Rick Rock.

Pendarvis: Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even Busta Rhymes and Mariah Carey. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like “Hyphy” and “Go Dumb” by The Federation, as well as E-40’s “Yay Area.”

Trackademicks: Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.

Where Did the Word “Hyphy” Come From?

Pendarvis: “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.

Trackademicks: He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.

Pendarvis: But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.

Trackademicks: Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.

The Musical Lineage that Created Hyphy

Pendarvis: The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…

Pendarvis: The heavy bass and synthesizers from funk shifted into a darker tone… becoming mobb music.

Trackademicks: In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.

Trackademicks: Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.

Pendarvis: Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “Somethin’ to Ride To (Fonky Expedition)”. That song is built off a sample of the S.O.S. Band’s “No One’s Going to Love You.”

Trackademicks: As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.

Pendarvis: That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was Dem Hoodstarz out of East Palo Alto. J. Stalin and Livewire Records out of West Oakland, and The Federation out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.

Trackademicks: The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.

Music Today

Pendarvis: What’s going on right now in terms of the Bay Area sound?

Trackademicks: It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.

Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on NPR One, Spotify, Apple Podcasts, TuneIn, Stitcher or wherever you get your podcasts.



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