Can I Kick It?

William Geib

Musica Ficta, Tritone1962

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Funkadelic

Can You Get To That1971

Funkadelic's "Can You Get to That" sits right before the James Brown-influenced groove of Maceo and the Macks, showing how the Plainfield funk pioneers pushed soul music into psychedelic territory. Released July 12, 1971, on their landmark album *Maggot Brain*, this track adapted The Parliaments' "What You Been Growing" into a swaggering showcase of Bernie Worrell's keyboard work and Eddie Hazel's guitar layering. George Clinton's production locked tight grooves with fuzzy psychedelic elements that became P-Funk's signature sound. The track became one of hip-hop's most sampled songs—A Tribe Called Quest borrowed its flow nineteen years later for "Can I Kick It?" The song proved funk didn't need to stay locked in the past; it could twist itself into wild new shapes while keeping its body-moving core.

Maceo And The Macks

Soul Power 74 - Pt. 21974

Where Funkadelic's psychedelic funk experiments of the early '70s established the genre's sonic possibilities, Maceo And The Macks tightened that formula into pure groove discipline. "Soul Power 74 - Pt. 2" strips away the cosmic weirdness and locks into a tight funk machine—horns sharp, rhythm section locked, every note earned. Maceo Parker's horn section became the blueprint for how funk could swing hard without losing sophistication. This track's emphasis on the one-beat and call-and-response horn arrangements would ripple forward decades later, influencing the jazz-funk samples that producers like DJ Krush mined for their beat-making in the 2000s. The straight-ahead funk pocket here proved the genre's staying power beyond psychedelic experimentation.

★ A Tribe Called Quest

Can I Kick It?1990

Lou Reed's name sits in the writer credits here because "Can I Kick It?" lifts the bass line directly from "Walk on the Wild Side" — a 1972 Lou Reed recording that itself borrowed from a session bassist named Herbie Flowers, who played two bass parts simultaneously to earn double union pay. That loop became the backbone Q-Tip and Phife Dawg rode into alternative hip-hop history when the track dropped on *People's Instinctive Travels* in 1990. The lineage moves next to Funkadelic's "Can You Get To That" from 1971, tracing how Black American music kept recycling and elevating its own DNA across decades. Tribe were explicit about that debt — sampling wasn't theft to them, it was conversation across time.

DJ KRUSH feat. Mos Def

Shinjiro (Harsh Mix)2006

DJ Krush, born in Tokyo on July 29, 1962, takes the funk-soul foundation of Maceo Parker's 1974 "Soul Power" and rebuilds it through digital breakbeats and turntablism. On the March 24, 2006 release of "Shinjiro (Harsh Mix)," Krush pairs acid jazz textures with Mos Def's (Yasiin Bey) introspective lyricism, creating a bridge between analog groove and electronic production. The track strips down to instrumental moments that honor the original soul power tradition while pushing it forward through 21st-century hip-hop sensibility. This aesthetic—respecting roots while refusing nostalgia—directly feeds Ka's 2018 "Sirens," where jazz samples and conscious rap merge with even more skeletal production.

Ka

Sirens2018

Where DJ Krush and Mos Def layered jazz samples with contemplative verses in 2006, Ka takes the abstract boom-bap formula deeper into introspection. "Sirens" continues that lineage of East Coast underground hip-hop that prizes lyrical density over catchiness. Born in Brownsville, Brooklyn, Ka built his reputation on exactly this kind of sparse, intelligent production paired with dense wordplay—a direct evolution of the thinking-person's rap that "Shinjiro" pioneered. The track's minimal arrangement lets every word land, maintaining the tradition that Krush established of letting silence speak as loudly as sound. This 2018 release sets up the next generation represented by Freddie Gibbs and Madlib's collaborative work the following year, proving the boom-bap lineage remained vital even as trap dominated mainstream hip-hop.

Freddie Gibbs & Madlib feat. Anderson .Paak

Giannis2019

"Giannis" bridges Ka's introspective production work on "Sirens" with the stripped-down boom bap that Roc Marciano and The Alchemist would perfect three years later. Released in 2019 as part of Gibbs and Madlib's *Bandana* album, this track showcases how sample-based hip-hop could remain physically grounded while incorporating contemporary R&B sensibility through Anderson .Paak's sung hook. Madlib's production pulls from jazz and soul records, keeping the drums minimal and purposeful—exactly the template that would define underground rap's approach to boom bap in the early 2020s. Gibbs' delivery stays conversational and precise, avoiding both trap's speed and trap-influenced rap's shouted delivery. The collaboration between a Detroit producer known for archival work, a Gary rapper focused on narrative clarity, and a singer-producer blending genres represents how boom bap evolved past its 1990s blueprint without abandoning its core values.

Mach-Hommy feat. Westside Gunn & Keisha Plum

Folie Á Deux2021

"Folie Á Deux" from Mach-Hommy's May 2021 album *Pray for Haiti* strengthens the Griselda crew's grip on boom-bap authenticity that Westside Gunn (Alvin Lamar Worthy) had just solidified with "Derrick Boleman." The Newark producer and Gunn team up with singer Keisha Plum over Conductor Williams's crisp, minimal beat to create a nearly two-and-a-half-minute statement that doesn't waste words. The track's title—French for "shared madness"—nods to the collective energy Griselda was building between 2021 and 2022, proof that their sound worked best when voices connected across projects. This collaboration bridges Gunn's solo work directly into Rome Streetz's darker "In Too Deep," showing how the label's roster moved as one.

Roc Marciano & The Alchemist

The Elephant Man's Bones2022

Where "Giannis" paired lyrical precision with Madlib's soulful chop-and-loop style, "The Elephant Man's Bones" doubles down on the boom-bap fundamentals with Roc Marciano and The Alchemist in 2022. Roc, a Long Island native born in 1978, brings weathered storytelling over Alchemist's crisp, sample-driven production—each loop carved with purpose rather than excess. The track bridges the gap between Gibbs and Madlib's accessible head-nod vibe and the grittier, more introspective sound that Westside Gunn would push further that same year. Here, the "elephant man" metaphor works as both personal reflection and hip-hop commentary, delivered with the kind of detail-oriented bars that keep boom-bap relevant in an era where production tricks often overshadow substance. This is craft over novelty.

Westside Gunn

Derrick Boleman2022

Where Roc Marciano and The Alchemist's 2022 collaboration stayed introspective, Westside Gunn brings raw street narratives back into focus on "Derrick Boleman," the sixth track from *Peace Fly God* (July 8, 2022). The title references NBA player Derrick Coleman through Blood gang letter substitution—a nod to Gunn's Buffalo roots and Griselda's uncompromising aesthetic. Madlib's production anchors the boom bap foundation, while Stove God Cooks' featured verse sharpens the storytelling. This track bridges the gritty East Coast hip-hop that precedes it and the more experimental territory Mach-Hommy explores on "Folie Á Deux," proving Gunn's 2022 output balanced street credibility with sonic evolution. The Griselda founder's consistent commitment to boom bap legitimacy remains unmistakable.

Rome Streetz

In Too Deep2022

Rome Streetz continues the gritty East Coast hardcore lineage established by Mach-Hommy and Westside Gunn, but strips away the abstract production layers for raw boom bap. Released September 30, 2022 on the album KISS THE RING, "In Too Deep" shows Streetz doubling down on the gangsta rap storytelling that connects to classic 90s New York hip-hop. Producer Conductor Williams keeps the drums heavy and samples minimal—pure instrumental foundation. Where "Folie Á Deux" leaned into avant-garde collaboration, this track anchors itself in boom bap fundamentals: crisp snares, dusty loops, and straightforward hard-hitting bars. The shift isn't backward but sideways, honoring the branch's roots while Streetz asserts his own voice in the Griselda Records family.