DJ Spinna (b. Vince Williams), is something of an anomaly in music. A humbl… Read Full Bio ↴DJ Spinna (b. Vince Williams), is something of an anomaly in music. A humbling example of what it takes to truly succeed within the framework of multiple fields. A steadfast work ethic, an obsessively extensive vinyl library & the willingness to pursue - the full extent of his roots (funk, soul & jazz), foundation (hip-hop) & future (electronic / dance music) - without restraint.
A cornerstone of Hip-Hop's late 90's indie-uprise, DJ Spinna made much of his first impression on listeners as the musical background of his group The Jigmastas (having released an impressive slew of 12" singles on his then self-run label Beyond Real during this time) as well as providing the canvas for an array of that era's lyrical giants. As an emcee in New York City, if you didn't have a Spinna production under your belt, well, you just hadn't accomplished all there was to accomplish. Everyone from Mos Def, Talib Kweli to Pharaohe Monch boasted Spinna beats to prove their worth to the scene. At the height of indie-kingpin Rawkus Records heyday, Spinna was in demand, also churning out timeless classics of the era from the likes of J-Live, Mr. Complex and The Polyrhythm Addicts (his all-too-brief collabo-group with Apani B., Shaabam Sadeeq and Complex).
As collaborative production work flooded his studio, from hip-hop legends like Sadat X & Grand Puba (Brand Nubian), Masta Ace and Guru (Gangstarr) to even The Jungle Brothers. Yet, while his stock as a the go-to producer rose so did his value as a key, if not crucial, remixer. At the time reworking hits for the major-label likes of De La Soul ("Stakes is High") Das EFX and MC Eiht.
Turning heads throughout the industry, Spinna's sonics soon infiltrated numerous genres. Tapped by everyone from George Michael to Mary J. Blige to Motown Records (for his brilliant Michael Jackson homage to "We're Almost There"). It's here his production presence would flourish greatly, as Spinna would go on to revive and revise Soulful marvels like Donald Byrd, Eddie Kendricks, Betty Carter, Roy Ayers and Al Jarreau. Always relevant to the current, Spinna has taken to new mixes for the J Dilla-bred Platinum Pied Pipers and Bay Area songstress Goapele as with the well respected Les Nubian. Though it goes without saying that one of the more memorable mixes goes to his monumental version of Shawn Escoffery's "Days Like This". In turn, catapulting Spinna into his now stately, touted presence in the dance music scene. Which made the transition to BBE Records smooth as ever, for his landmark solo production album "Here To There". It also spawned another record label, Spinna's own, Wonderwax. A home for his soulful dance classics, the imprint came to fruition in 2003, and has seen memorable releases from contemporaries such as Rich Medina, Lady Alma, Blaze, The Free Radikalz and Selan.
With so much studio work, it's a marvel Spinna travels as much as he does. The constant, globe-trotting performances he's become equally famed for have brought the DJ as far as Iceland, Australia, and South Africa as well as countless jaunts through England, Europe and the U.S. Not to forget, his hugely successful tours of Japan, where Spinna is held in the highest regard throughout the country for his craft in music. Not always the lone crowd-controller, Spinna's collaborated on stage alongside contemporary luminaries like Gilles Peterson, Jazzanova, Joe Claussell, Bugz In The Attic, Osunlade, Jazzy Jeff, Kenny Dope, Keb Darge, DJ Scratch (EPMD), DJ Shadow & Cut Chemist. He's a true showman and versatile as ever.
Yet nothing compares to his celebrated Stevie Wonder inspired WONDER-Full DJ-performances (aside friend and contributor Bobbito Garcia). Garnering overwhelming fanfare each occasion done - whether NYC, LA, San Francisco, Japan or beyond and if a WONDER-Full event is booked at a club you can put money on a line around the block and thousands of Stevie Wonder admirers rocking the house. And while he's gained so much attention and accolade for his tributes to Stevie, Spinna is not incapable of doing the same for any other pivotal forefather. Visit New York City any given month and find a number of Spinna themed throw-downs in the city's esteemed venues - each as memorable as the last.
Its true that there are other likeminded DJ/Producers in the world comparable to DJ Spinna, but for the most part, they choose a genre and master it. Ask them to flip another variety with the same intense knowledge and sleek-savvy and you'll be hard pressed to find someone that'll do it to Spinna's extent.
With a brand new album "InterGalactic Soul" at its completion (set for release in May, 06), Spinna's venturing to new reaches in his quest to musical harmony. Tapping into his perfected take on a truly cosmic boom-bap to a sexy, stylishly accessible brand of House and dance music that is unique only to him.
Remaining a musician for the ages, Spinna's true successes happily await in the future. Won't you come along for the ride?
A cornerstone of Hip-Hop's late 90's indie-uprise, DJ Spinna made much of his first impression on listeners as the musical background of his group The Jigmastas (having released an impressive slew of 12" singles on his then self-run label Beyond Real during this time) as well as providing the canvas for an array of that era's lyrical giants. As an emcee in New York City, if you didn't have a Spinna production under your belt, well, you just hadn't accomplished all there was to accomplish. Everyone from Mos Def, Talib Kweli to Pharaohe Monch boasted Spinna beats to prove their worth to the scene. At the height of indie-kingpin Rawkus Records heyday, Spinna was in demand, also churning out timeless classics of the era from the likes of J-Live, Mr. Complex and The Polyrhythm Addicts (his all-too-brief collabo-group with Apani B., Shaabam Sadeeq and Complex).
As collaborative production work flooded his studio, from hip-hop legends like Sadat X & Grand Puba (Brand Nubian), Masta Ace and Guru (Gangstarr) to even The Jungle Brothers. Yet, while his stock as a the go-to producer rose so did his value as a key, if not crucial, remixer. At the time reworking hits for the major-label likes of De La Soul ("Stakes is High") Das EFX and MC Eiht.
Turning heads throughout the industry, Spinna's sonics soon infiltrated numerous genres. Tapped by everyone from George Michael to Mary J. Blige to Motown Records (for his brilliant Michael Jackson homage to "We're Almost There"). It's here his production presence would flourish greatly, as Spinna would go on to revive and revise Soulful marvels like Donald Byrd, Eddie Kendricks, Betty Carter, Roy Ayers and Al Jarreau. Always relevant to the current, Spinna has taken to new mixes for the J Dilla-bred Platinum Pied Pipers and Bay Area songstress Goapele as with the well respected Les Nubian. Though it goes without saying that one of the more memorable mixes goes to his monumental version of Shawn Escoffery's "Days Like This". In turn, catapulting Spinna into his now stately, touted presence in the dance music scene. Which made the transition to BBE Records smooth as ever, for his landmark solo production album "Here To There". It also spawned another record label, Spinna's own, Wonderwax. A home for his soulful dance classics, the imprint came to fruition in 2003, and has seen memorable releases from contemporaries such as Rich Medina, Lady Alma, Blaze, The Free Radikalz and Selan.
With so much studio work, it's a marvel Spinna travels as much as he does. The constant, globe-trotting performances he's become equally famed for have brought the DJ as far as Iceland, Australia, and South Africa as well as countless jaunts through England, Europe and the U.S. Not to forget, his hugely successful tours of Japan, where Spinna is held in the highest regard throughout the country for his craft in music. Not always the lone crowd-controller, Spinna's collaborated on stage alongside contemporary luminaries like Gilles Peterson, Jazzanova, Joe Claussell, Bugz In The Attic, Osunlade, Jazzy Jeff, Kenny Dope, Keb Darge, DJ Scratch (EPMD), DJ Shadow & Cut Chemist. He's a true showman and versatile as ever.
Yet nothing compares to his celebrated Stevie Wonder inspired WONDER-Full DJ-performances (aside friend and contributor Bobbito Garcia). Garnering overwhelming fanfare each occasion done - whether NYC, LA, San Francisco, Japan or beyond and if a WONDER-Full event is booked at a club you can put money on a line around the block and thousands of Stevie Wonder admirers rocking the house. And while he's gained so much attention and accolade for his tributes to Stevie, Spinna is not incapable of doing the same for any other pivotal forefather. Visit New York City any given month and find a number of Spinna themed throw-downs in the city's esteemed venues - each as memorable as the last.
Its true that there are other likeminded DJ/Producers in the world comparable to DJ Spinna, but for the most part, they choose a genre and master it. Ask them to flip another variety with the same intense knowledge and sleek-savvy and you'll be hard pressed to find someone that'll do it to Spinna's extent.
With a brand new album "InterGalactic Soul" at its completion (set for release in May, 06), Spinna's venturing to new reaches in his quest to musical harmony. Tapping into his perfected take on a truly cosmic boom-bap to a sexy, stylishly accessible brand of House and dance music that is unique only to him.
Remaining a musician for the ages, Spinna's true successes happily await in the future. Won't you come along for the ride?
Braggin' Writes
DJ Spinna Lyrics
Jump to: Overall Meaning ↴
For underground metaphors
You can scrape an inch below the turf, for what it's worth
My style's been developed in the core of the Earth
The exhale's volcanic, the inhale is seismic
So brothers just panic when he Live one arrives with
The natural ability to run through your crew
From 2-1-4 to 2-1-3 to 2-1-2
In other words, from Dallas, to L.A., to the place where J stay
Everyday is mayday
So you can talk your trash on how you're wettin MC's
with mad blood stains but I'll bet you can't stand the rain
I look upon your brain with disdain
Go back and reflect on my endeavors black I can't complain
It's like a raw deal, consistent with the way I make you feel
The ends stay revealed while the means I conceal
And those who try to steal get decapitated
You want to snatch my H2O type flow, but it evaporated
I displays my credentials over instrumentals
And my potential, increases at a rate that's exponential
It's detrimental questioning my thesis
The penetration's exact, like amniocentesis
I rip your rhyme to pieces after draining out your fluid
My vocab is fluent yours is evident of being truant
I know you want to make moves but son you best to take a second look
Before my knight takes your rook
[Chorus]
Cause everybody's rapping, and only few can flow
So why the hell they trying to deal with Live I don't know
I handle true MC's on their block or at their show
So if you come with bull kid, keep it on the low
Cause yo, I got the hairsplitting, self-written unbitten style
that leaves the competition running scared and shaking in their pants
You best to set it off cause black it ain't no second chance
once I'm open, all you doing is hoping that the Live one
will put the mic down, but son don't try to snatch it after
The laughter won't cease from the comparison, how dare you son
Step around the booth when I'm on
The microphone magician says poof, you're gone with the wind
There's no trace of your friends cause you don't know where the
beginning ends or where the end begins
But you see that's the difference, you get sold, I get paid
Black I told you, get paid
If you're broke I'll have to rain on your parade
You belong in Special Ed if you think you Got It Made
J-Live with the mic is like the chef with the blade
Cause suckers get sliced and sauteed
Yeah, you thought your joint was fly but the flight was delayed
because
[Chorus x2]
You can scrape an inch below the turf, for what it's worth
My style's been developed in the core of the Earth
The exhale's volcanic, the inhale is seismic
So brothers just panic when he Live one arrives with
The natural ability to run through your crew
From 2-1-4 to 2-1-3 to 2-1-2
Everyday is mayday
So you can talk your trash on how you're wettin MC's
with mad blood stains but I'll bet you can't stand the rain
I look upon your brain with disdain
Go back and reflect on my endeavors black I can't complain
It's like a raw deal, consistent with the way I make you feel
The ends stay revealed while the means I conceal
And those who try to steal get decapitated
You want to snatch my H2O type flow, but it evaporated
I displays my credentials over instrumentals
And my potential, increases at a rate that's exponential
It's detrimental questioning my thesis
The penetration's exact, like amniocentesis
I rip your rhyme to pieces after draining out your fluid
My vocab is fluent yours is evident of being truant
I know you want to make moves but son you best to take a second look
Before my knight takes your rook
[Chorus]
Cause everybody's rapping, and only few can flow
So why the hell they trying to deal with Live I don't know
I handle true MC's on their block or at their show
So if you come with bull kid, keep it on the low
Cause yo, I got the hairsplitting, self-written unbitten style
that leaves the competition running scared and shaking in their pants
You best to set it off cause black it ain't no second chance
once I'm open, all you doing is hoping that the Live one
will put the mic down, but son don't try to snatch it after
The laughter won't cease from the comparison, how dare you son
Step around the booth when I'm on
The microphone magician says poof, you're gone with the wind
There's no trace of your friends cause you don't know where the
beginning ends or where the end begins
But you see that's the difference, you get sold, I get paid
Black I told you, get paid
If you're broke I'll have to rain on your parade
You belong in Special Ed if you think you Got It Made
J-Live with the mic is like the chef with the blade
Cause suckers get sliced and sauteed
Yeah, you thought your joint was fly but the flight was delayed
because
[Chorus x2]
In this verse, J-Live is making a statement about his prowess as an underground rapper. He describes his style as having been "developed in the core of the Earth," stating that it is both explosive and seismic. He references the cities that he has conquered with his flow, moving from Dallas, to LA, to the place where he himself resides. He is dismissive of those who try to compete with him, stating that while they may be able to "wet MC's with mad blood stains," they cannot stand the rain that he brings with his rhymes. He looks down on those who try to appropriate his style, saying that they only end up getting decapitated.
J-Live goes on to describe the fluidity and cleanliness of his rhyming in comparison to his competitors. While he displays his talents openly over instrumentals, those who try to copy him are truant and their lack of skill is evident. He states that he is the master of the mic, leaving his competition scared and shaking in their pants. He warns them not to try and take the mic from him, as there will be no second chance for them to redeem themselves once he has taken over.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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@anatunde
[Verse 1]
For underground metaphors how deep must you drill
Just to reach the black gold known as a J-live flow
The comprehension, mind you
Is probably too deep for followers to find you
Son need I remind you
Pay attention
Cause when the pen hands come quicker than the wise eyes that thought to be light years ahead
If it is dear
Just watch this
Catch "Right there's"
And "Ooh yea's"
Oh yea Cause D took the bass out in spin and put the snares there
Don't fiend for props when you finally get the idea
I know you getting warmer but you still nowhere near
Close enough you need to relate
I've been fly since America had 13 states
Fertilizing on beats
Found in buy you back waters swap meats
They get up in that ass like feets with cleats
So the same MC's that claim streets elite
Are have dreams of defeat
And they can see bed sheets
I greets mics like Rosa Parks greets bus seats
Cause who needs permission when its flavor this sweet
And half of y'all is wishing you can snack on these treats
But biters catch cavity creeps
So i suggest that you mind your P's and Q's from A to Z
Cause Z's inhale still entail earthquakes
And leaves no room for mistakes
So if your vision's blurry
Its mind will do a double take cause
[Hook]
I know you wanna moves but son you best to take a second look
I displays my credentials of instrumentals
I know you wanna moves but son you best to take a second look
Strike messing with J-live from your agenda and remember
[Verse 2]
I got the hair-splitting self-written unbitten style that makes the competition wish I was the label mate
So get it straight like hetero
Placing live in cities, state, or federal
The fashion of the J train runs international
To express local views
With no time for folks to do visions by local crews
So sleep and set your clock on snooze
You could still get the worm like the early bird
As I peruse through the archives of rhyme books from yesteryear
To review my older lyrics and my obsolete styles
Its funny cause the shit that I was writting back then is sounding better than the music that you putting out now
Cause everybody rapping but only few can say
They got the kind of lyrics that are comfortable to J
I grit at what I do call it work or call it play
Might even take a L one time but not today so um
[Hook 2]
I know you wanna moves but son you best to take a second look
You belong in special ed if you think you got it made
I know you wanna moves but son you best to take a second look
Brothers just panic when the Live one arrives
I know you wanna moves but son you best to take a second look
Everyday is Mayday
I know you wanna moves but son you best to take a second look
Poof you gone with the wind
[Verse 3]
I take the beat offend of pretenders through a cross examination
To hear an explanation of the situation
The verdict comes without much deliberation
Cause they confess to cheating off the answers of my test
I guess its cause they average
Whereas my score is way above the mean
Matter of fact its unbelievably true
So props I do love some
But imma simply take them one by one
Considering the count conceivable
Achievable naturally my juices be uncarbonated
My soda pop raps are popular as lemonade
My paper covers rock and rock smash the scissors
Still Live with the mic is like a chef with the blade
So scissors ain't required for me
To rip rap sheets to shreds and turn heads into pendulums
And then some, while some, get slick, with sick lyrics
That need to be hand delivered I transcend them
Bottom line will be the last one
But not the worst one
Consistent, to leave you reminiscence about the first one
But all of the examples of the wrath
While some spoke jokes to provoke
But I still gets the last laugh
@ReeferFatness
For underground metaphors how deep must you drill
Just to reach the black gold known as a J-live flow
The comprehension, mind you
Is probably too deep for followers to find you
Son need I remind you
Pay attention
Cause when the pen hands come quicker than the wise eyes that thought to be light years ahead
If it is dear
Just watch this
Catch "Right there's"
And "Ooh yea's"
Oh yea Cause D took the bass out in spin and put the snares there
Don't fiend for props when you finally get the idea
I know you getting warmer but you still nowhere near
Close enough you need to relate
I've been fly since America had 13 states
Fertilizing on beats
Found in buy you back waters swap meats
They get up in that ass like feets with cleats
So the same MC's that claim streets elite
Are have dreams of defeat
And they can see bed sheets
I greets mics like Rosa Parks greets bus seats
Cause who needs permission when its flavor this sweet
And half of y'all is wishing you can snack on these treats
But biters catch cavity creeps
So i suggest that you mind your P's and Q's from A to Z
Cause Z's inhale still entail earthquakes
And leaves no room for mistakes
So if your vision's blurry
Its mind will do a double take cause
[Hook]
I know you wanna moves but son you best to take a second look
I displays my credentials of instrumentals
I know you wanna moves but son you best to take a second look
Strike messing with J-live from your agenda and remember
[Verse 2]
I got the hair-splitting self-written unbitten style that makes the competition wish I was the label mate
So get it straight like hetero
Placing live in cities, state, or federal
The fashion of the J train runs international
To express local views
With no time for folks to do visions by local crews
So sleep and set your clock on snooze
You could still get the worm like the early bird
As I peruse through the archives of rhyme books from yesteryear
To review my older lyrics and my obsolete styles
Its funny cause the shit that I was writting back then is sounding better than the music that you putting out now
Cause everybody rapping but only few can say
They got the kind of lyrics that are comfortable to J
I grit at what I do call it work or call it play
Might even take a L one time but not today so um
[Hook 2]
I know you wanna moves but son you best to take a second look
You belong in special ed if you think you got it made
I know you wanna moves but son you best to take a second look
Brothers just panic when the Live one arrives
I know you wanna moves but son you best to take a second look
Everyday is Mayday
I know you wanna moves but son you best to take a second look
Poof you gone with the wind
[Verse 3]
I take the beat offend of pretenders through a cross examination
To hear an explanation of the situation
The verdict comes without much deliberation
Cause they confess to cheating off the answers of my test
I guess its cause they average
Whereas my score is way above the mean
Matter of fact its unbelievably true
So props I do love some
But imma simply take them one by one
Considering the count conceivable
Achievable naturally my juices be uncarbonated
My soda pop raps are popular as lemonade
My paper covers rock and rock smash the scissors
Still Live with the mic is like a chef with the blade
So scissors ain't required for me
To rip rap sheets to shreds and turn heads into pendulums
And then some, while some, get slick, with sick lyrics
That need to be hand delivered I transcend them
Bottom line will be the last one
But not the worst one
Consistent, to leave you reminiscence about the first one
But all of the examples of the wrath
While some spoke jokes to provoke
But I still gets the last laugh
from genius.com
It's like every sentence is a punchline on this track!
@devmiles
There are records to cry over their phatness and flow, this is one of them
@maxe160
damn this guy underrated af
@dangerousbeats8332
Man...I remember meeting him in bk at the studio. I was doing street promotion for him at the time. I remember the label was independent. Definitely bought back memories. And yeah..dj spinna was a beast. Check out some of the stuff he did with jiggmasters!!!! 1995. Classic!!!!
@eriknnoel
DJ Spinna killed this.....
@matthewbryant4926
One of the dopest mcs to ever pick up a mic
@danBLAZED
Yessir
@mauricebishop3322
On point
@StrangeManCalledSeb
CLASSIC track.
@ausar02
perfect remix for this joint, lovely clasic
@Goldunix
THIS SONG IS golden