During a recent early morning shift at the Park Slope Food Coop, amidst boxes of fresh produce and the hum of refrigerators, something magical happened. As part of the eclectic playlist curated by the Receiving coordinator, “Can I Kick It?” by A Tribe Called Quest filled the basement. Despite the pre-dawn hustle, everyone’s energy noticeably lifted. This infectious track, created by a group of artists barely out of their teens, begs the question: what makes “Can I Kick It?” such an enduring hip-hop classic?
To understand the song’s brilliance, we need to dissect its DNA, starting with the ingenious tapestry of samples woven into its fabric.
The Iconic Samples Behind “Can I Kick It?”
A Tribe Called Quest wasn’t just rapping over beats; they were sonic archaeologists, unearthing gems from diverse musical landscapes and repurposing them into something entirely new. “Can I Kick It?” is a prime example of this sampling mastery.
Lou Reed’s “Walk on the Wild Side” Bassline
The song’s foundation, that instantly recognizable and smooth bassline, originates from Lou Reed’s 1972 hit, “Walk on the Wild Side“. This track, co-produced by David Bowie and Mick Ronson, was a staple of classic rock radio. Interestingly, A Tribe Called Quest’s label didn’t initially clear this sample. In a surprising turn, Lou Reed, instead of pursuing legal action, granted permission in exchange for a hefty price – all of the publishing royalties for “Can I Kick It?”. While seemingly steep, it underscores the undeniable power of Reed’s bassline.
Musically, this bassline is fascinating. It’s composed of two basslines moving in contrary motion, a contrapuntal technique usually applied to discrete notes, not slides. Bassist Herbie Flowers masterfully created this by sliding from C down to F and back on an upright bass, and then overdubbing a slide from E to A and down from C to E on electric bass. He recounts the creative process here. For bass players, it’s even possible to play both parts simultaneously using tapping techniques.
Dr. Buzzard’s Original Savannah Band’s “Sunshower” Guitar Slide and Percussion
Adding another layer of texture, the subtle guitar slide and percussive “clink” sound are lifted from “Sunshower” by the eclectic disco-jazz group Dr. Buzzard’s Original Savannah Band, released in 1976.
The inclusion of the percussive clink sparks debate. Was it intentionally sampled, or an accidental byproduct of isolating the guitar slide? Initially, the clink might sound like a minor imperfection. However, it arguably adds a crucial rawness, preventing the track from becoming overly polished and smooth, giving it a distinctive edge.
Dr. Lonnie Smith’s “Spinning Wheel” Drums and Organ
The driving drum beat and swirling organ chords come courtesy of Dr. Lonnie Smith‘s 1970 rendition of “Spinning Wheel” by Blood, Sweat & Tears. Joe Dukes’ drumming on this track is energetic, almost chaotic, yet it provides a solid rhythmic backbone for “Can I Kick It?”.
Sly & The Family Stone’s “Fun” Horn Blast
A brief but impactful sample appears during Q-Tip’s verse. On the line “a life filled with fun that’s what I love,” the emphasized word “fun,” punctuated by a horn blast, is sampled from the aptly titled “Fun” by Sly & The Family Stone (1968). This sample adds a playful, energetic jab to the lyrical content.
Eugene McDaniels’ “Jagger The Dagger” Groove
For those who listen to the album version of “Can I Kick It?”, the song begins with a unique lead-in, which is actually the outro of “Bonita Applebum,” another Tribe classic. The underlying groove during this intro, and the spoken word segment, is sampled from the experimental track “Jagger The Dagger” by Eugene McDaniels (1971), showcasing Tribe’s penchant for digging deep into obscure and unconventional sources.
The Art of Sampling in the Late 80s: Bob Power’s Perspective
In a Mix Magazine interview, Tribe’s engineer Bob Power sheds light on the painstaking process of constructing “Can I Kick It?”. Contrary to the modern perception of sampling as effortless, in 1989, it was a technically demanding endeavor. Samplers had severe limitations, often capping sample lengths at a mere second and a half. Power details the intricate workarounds, like spreading drum parts across multiple samples and meticulously synchronizing them using SMPTE timecode. This highlights the dedication and skill involved in early sampling, transforming it from a shortcut into a genuine art form.
Beyond the Album Version: Remixes and the Megamix
The album version is just the tip of the iceberg. The music video for “Can I Kick It?” features a different mix with alternate samples. Further explorations include The Extended Boilerhouse Mix which incorporates a Prokofiev sample, and The Von Trapp Mix that playfully samples Julie Andrews. Intrigued by the source material, the author even created a megamix, extending the groove and seamlessly blending all the original samples for a deeper listening experience.
Why “Can I Kick It?” Remains a Timeless Hip-Hop Anthem
While Q-Tip and Phife Dawg’s lyrical prowess and distinctive voices undoubtedly contribute to the song’s appeal, the true magic of “Can I Kick It?” lies in its sonic architecture. The juxtaposition of Lou Reed’s serene bassline, the robust beat, the chaotic energy of the organ sample, and Ali Shaheed Muhammad’s subtle scratches creates a sonic tapestry that is captivating and timeless. It’s a testament to the alchemical power of sampling, where disparate musical elements fuse to create something far greater than the sum of their parts. Perhaps Lou Reed inadvertently owed a debt to A Tribe Called Quest for giving his bassline an entirely new and iconic home. “Can I Kick It?” isn’t just a song; it’s a masterclass in sampling, a celebration of musical history, and a timeless groove that continues to resonate decades later.
