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The Shining
Released: Aug 22, 2006
Label: N\A

Months before he passed away, {$J Dilla} asked fellow Detroiter and longtime associate {$Karriem Riggins} to help him complete {^The Shining}. With the album apparently 75 percent complete,... Continue[+]

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Months before he passed away, {$J Dilla} asked fellow Detroiter and longtime associate {$Karriem Riggins} to help him complete {^The Shining}. With the album apparently 75 percent complete, {$Riggins} -- an accomplished multi-instrumentalist and producer in his own right -- was handed the masters and went about the completion of the album as if he were inside the mind of {$Dilla}. Though it's disjointed, a little bumpy, and -- in places -- perceptibly unfinished-sounding, {^The Shining} is a very worthy addition to {$Dilla}'s discography. A slightly more in-depth synthesis of studio creations and live instrumentation when compared to the productions that have trickled out during 2005 and 2006, the album is drenched in {\soul} -- save for a couple space-age basslines and other fleeting forms of alien synthetics -- and features an impressive raft of {$Dilla}'s favorite MCs and singers, big names and relative unknowns alike. And though it's less than 40 minutes in length, {$Dilla} was always about brevity, which means the meandering is kept to a minimum. On {&"Baby,"} {$Dilla} swaps lines with {$Guilty Simpson} and {$Madlib} in what amounts to an amusing locker-room boast fest. ({$Simpson}, apparently a fan of {#The Surreal Life}, claims he'll "Beat your dog like {$Flavor Flav}.") The shamelessly gooey {&"So Far to Go,"} featuring {$Common} and {$D'Angelo}, expands {^Donuts}' {&"Bye"} to six minutes, allowing wide shafts of light to pour through the spaces between the subtle backbeat. {&"Dime Piece"} is some prime 21st century {\quiet storm}, a {$Dwele} feature that coasts through twilight. Fittingly, the closing {&"Won't Do"} is all-{$Dilla}, from the beat to the nasty MCing to an impressive vocal hook that's nearly as dapper as anything delivered by {$Dwele}. ({$Dilla}'s not given nearly enough credit for being a top-flight {\R&B} producer from the very beginning; compare {$the Pharcyde}'s {&"Runnin'"} to {$Mya}'s {&"Fallen,"} or check the instrumental versions of just about any one of his tracks.) It's impossible not to wonder exactly what this album could've been, or where {$Dilla} would've gone with his skills after its release. But it's just as easy to marvel at the amount of quality music he generated while he was on this planet. ~ Andy Kellman, All Music Guide

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Donuts
Released: Feb 7, 2006
Label: N\A

{^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... Continue[+]

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{^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 {$Dilla} has ever done, {^Donuts} is not defining; in fact, elements of its approach bear the apparent influence of {$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. ~ Andy Kellman, All Music Guide

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Welcome 2 Detroit - INSTRUMENTAL
Released: Aug 23, 2005
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Welcome 2 Detroit
Released: Feb 27, 2001
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{$Jay Dee} made a name for himself as one-third of {$A Tribe Called Quest}'s beat-making faction ({$the Ummah}). Thanks to his work on {$Common}'s critically acclaimed {^Like Water for Chocolate}... Continue[+]

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{$Jay Dee} made a name for himself as one-third of {$A Tribe Called Quest}'s beat-making faction ({$the Ummah}). Thanks to his work on {$Common}'s critically acclaimed {^Like Water for Chocolate} and {$Q-Tip}'s post-{$Quest} endeavor {^Amplified}, {$Dee} has also established himself as a {\hip-hop} super-producer. While {$Dee}'s stock continues to rise (working with {$Janet Jackson}, {$Erykah Badu}, and {$Macy Gray}), his underground projects have been less fruitful. Reason being, when it comes to enlisting new MCs to collaborate with, {$Dee} has yet to locate a lyricist capable of augmenting his sublime production. This fact became apparent during {$Dee}'s short-lived stint as a member of {$Slum Village}, and the trend continues with his first solo outing, {^Welcome 2 Detroit}. Here, {$Dee} continues to showcase a diverse assortment of sensuous melodies and booming {\funk} samples. The Detroit-bred MCs who {$Dee} chooses to highlight -- {$Phat Kat} on {&"Rico Suave Bossa Nova"} and {$Beej} on {&"Beej-N-Dem, Pt. 2"} prove to be very mediocre lyricists. Yet {$Dee} did manage to round up a few hometown prospects, as {$Frank N Dank} liven up {&"Pause"} and {$Elzhi} rips a few furious verses on {&"Come Get It."} Though {$Dee} flips a few clumsy bars as well, {^Welcome 2 Detroit} really takes off when he sticks solely to an instrumental script, retouching trumpeter {$Donald Byrd}'s {&"Think Twice"} and transforming {$Kraftwerk}'s indelible {&"Trans-Europe Express"} into the strippers'-anthem-in-waiting {&"B.B.E. (Big Booty Express)."} ~ Matt Conaway, All Music Guide

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The Shining - INSTRUMENTAL
Released: 2006
Label: N\A

Months before he passed away, {$J Dilla} asked fellow Detroiter and longtime associate {$Karriem Riggins} to help him complete {^The Shining}. With the album apparently 75 percent complete,... Continue[+]

Album Name	Required
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Months before he passed away, {$J Dilla} asked fellow Detroiter and longtime associate {$Karriem Riggins} to help him complete {^The Shining}. With the album apparently 75 percent complete, {$Riggins} -- an accomplished multi-instrumentalist and producer in his own right -- was handed the masters and went about the completion of the album as if he were inside the mind of {$Dilla}. Though it's disjointed, a little bumpy, and -- in places -- perceptibly unfinished-sounding, {^The Shining} is a very worthy addition to {$Dilla}'s discography. A slightly more in-depth synthesis of studio creations and live instrumentation when compared to the productions that have trickled out during 2005 and 2006, the album is drenched in {\soul} -- save for a couple space-age basslines and other fleeting forms of alien synthetics -- and features an impressive raft of {$Dilla}'s favorite MCs and singers, big names and relative unknowns alike. And though it's less than 40 minutes in length, {$Dilla} was always about brevity, which means the meandering is kept to a minimum. On {&"Baby,"} {$Dilla} swaps lines with {$Guilty Simpson} and {$Madlib} in what amounts to an amusing locker-room boast fest. ({$Simpson}, apparently a fan of {#The Surreal Life}, claims he'll "Beat your dog like {$Flavor Flav}.") The shamelessly gooey {&"So Far to Go,"} featuring {$Common} and {$D'Angelo}, expands {^Donuts}' {&"Bye"} to six minutes, allowing wide shafts of light to pour through the spaces between the subtle backbeat. {&"Dime Piece"} is some prime 21st century {\quiet storm}, a {$Dwele} feature that coasts through twilight. Fittingly, the closing {&"Won't Do"} is all-{$Dilla}, from the beat to the nasty MCing to an impressive vocal hook that's nearly as dapper as anything delivered by {$Dwele}. ({$Dilla}'s not given nearly enough credit for being a top-flight {\R&B} producer from the very beginning; compare {$the Pharcyde}'s {&"Runnin'"} to {$Mya}'s {&"Fallen,"} or check the instrumental versions of just about any one of his tracks.) It's impossible not to wonder exactly what this album could've been, or where {$Dilla} would've gone with his skills after its release. But it's just as easy to marvel at the amount of quality music he generated while he was on this planet. [A strictly instrumental version of the album was also released.] ~ Andy Kellman, All Music Guide

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The Shining EP
Released: 2006
Label: N\A

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The Official Jay Dee Instrumentals Series, Vol. 2: Vintage
Released: 2003
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Off Ya Chest
Released: 2002
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The Official Jay Dee Instrumentals Series, Vol. 1: Unreleased
Released: October 2002
Label: N\A

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Fuck the Police
Released: 2001
Label: N\A

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