As far as the most slept-on artists in hip hop go, Compton’s DJ Quik would have to be somewhere in the top ten. Had he never even uttered a word into a microphone, the length and quality of his production credits alone should guarantee his place in a hip hop hall of fame. Quik is a musician in every sense of the word; for nearly twenty years he has lived and breathed music, teaching himself multiple instruments, channeling inspiration into densely layered two-bar loops and knocking drum tracks. Where fellow West Coast studio wizard Dr. Dre mined strictly from bass-heavy Parliament and Funkadelic jams for the game-changing The Chronic (1992), Quik’s muse explored the entire spectrum of ’70s Black music: Latin-flavored fusion, greasy Memphis funk, Blaxpliotation soundtracks, sweet Philly Soul, and dusty reggae and dub, to name but a few. To further showcase his composition and arranging skills, each of Quik’s albums has featured an instrumental titled “Quik’s Groove” (or some variation), a tradition which has become a trademark of sorts for the producer. Though the quality level of these interludes has been a tad inconsistent, in most instances they’ve provided a breath of fresh air, and when it comes down to it, it just wouldn’t be a Quik album without a “Quik’s Groove” nestled in the track sequence somewhere.

To date, none of Quik’s albums have sold as well as his platinum debut Quik Is the Name (1991), and listening back now, it’s hard to believe that such a solid, well-rounded release could come from a skinny 20-year-old with a Jheri curl. The first installment in the “Quik’s Groove” series appears in the middle of the record’s second side, yet by then the song has already been heard, as it’s questionably used as the backing track to “Dedication,” which concludes Side A. Regardless, it’s a nice little slice of Quiet Storm funk, a basic two-chord pattern with two separate guitar sections (provided by Stan Jones) providing variation. Its brevity is perhaps its greatest virtue; just as the track begins to feel repetitious, it succinctly wraps itself up. The back of the liner insert shows a photo of Quik (along with members of his 304 Posse) cruising down Crenshaw at sunset, drop-top style, which perfectly matches the vibe of this instrumental.

“Quik’s Groove” – DJ Quik 1:48 (Quik Is the Name, Priority 1991)

For Way 2 Fonky (1992), Quik simply built on the same formula that made his debut such a success, yet the most significant sonic difference here was the use of live instrumentation, which would subsequently become the backbone of his production style for the remainder of the decade. The title of “Quik’z Groove II” contains the parenthetical “For U 2 Rip 2,” but the mood is more late-afternoon chillout with the homies than midnight love with the girl. The track opens with a sample of an ascending flute line (appropriated from the intro to Earth, Wind & Fire’s “Africano”), which then becomes the basis for a swirling, fantasy-like groove layered with finger-picked guitar, warm string pads, and a thumping drum pattern. Part of the track’s success can be attributed to Rob Bacon, who not only provides guitar work, but thumbs out a tasteful and snaky bassline as well. Absolutely lovely and undoubtedly a highlight of the record.

“Quik’z Groove II (For U 2 Rip 2)” – DJ Quik 2:33 (Way 2 Fonky, Priority 1992)

While Safe & Sound (1995) is the Quik album with the heaviest dose of P-Funk, the “Quik’s Groove” here is anything but. Buried into a collection of rugged gangsta posturing, explicit dirty talkin’, city repping, and numerous MC Eiht disses is this gorgeous instrumental that wouldn’t sound out of place on a contemporary jazz fusion release. Here Quik takes full advantage of the live band, with drummer George Archie establishing a nimble 4/4 pattern for Rob Bacon’s guitar and the icy flute of Charles Greene. Again, Bacon overdubs his bassline, which brilliantly incorporates the root notes in addition to the bell-like natural harmonics of the instrument, adding to the shimmering, crystalline nature of the track. This “Quik’s Groove” holds my vote as his finest.

“Quik’s Groove III” – DJ Quik 2:37 (Safe & Sound, Priority 1995)

Upon the release of Rhythm-al-ism (1998), I highly doubt I was the only fan who perused the track listing and wondered, “What, no more ‘Quik’s Groove’?” Officially, there was never a fourth installment in the series, but the general consensus among Quik devotees is that “EL’s Interlude” serves as the unofficial “Quik’s Groove IV.” Compared to the previous three, to say it’s a disappointment is a bit of an understatement. Over a flaccid, plodding groove, El DeBarge does his best Marvin Gaye impersonation to his own detriment and everyone else’s embarrassment. Personally, I feel like the extended instrumental outro to the mid-album centerpiece “Whateva U Do” would have qualified as a worthy follow-up, but either way, both are probably better left forgotten.

“EL’s Interlude” – DJ Quik feat. EL DeBarge 4:05 (Rhythm-al-ism, Arista 1998)

The return of “Quik’s Groove” appeared on the underrated Balance & Options (2000) two years later, and stands in contrast to the new direction of futuristic funk that Quik had moved into. Perhaps the most subtle and understated of the group, “Quik’s Groove V” mostly suffers from being unmemorable, not to mention incredibly repetitious at a near-agonizing five minutes in length. Here Quik sets up a basic bass-and-drum groove for pianist Warren Campbell, Jr. to solo over, but with next to no variation at all, it becomes almost maddening when one begins to focus on the insistent guitar in the right channel. And what the hell is with the continuous crackling noise in the background? This one would have been better off as detritus on the cutting room floor.

“Quik’s Groove V” – DJ Quik 4:59 (Balance & Options, Arista 2000)

Compared to the two that proceed it, “Quik’s Groove 6″ (from the all-but-ignored Under tha Influence [2002]) is actually quite refreshing. Appearing in the middle of the record, Quik does little here but set up a chunky, mid-tempo drum track for an uncredited (?) sax player to blow over while guitarist Dave Foreman injects snappy little licks into the groove. Admittedly, there isn’t much to it, but there’s an infectious simplicity to the track that prevents it from getting stale, as well as a loose, improvisatory quality that the other “Quik’s Groove”s lack. It’s interesting to compare this to, say, “Quik’z Groove II” ten years earlier and view the producer’s transition from mellow sentimentality to a more direct, no-frills funkiness.

“Quik’s Groove 6” – DJ Quik 4:12 (Under tha Influence, Ark 21 2002)

Quik’s most recent release, Trauma (2005), was little more than an album of guest appearances that happened to have his name on it, which was even the case for “Quik’s Groove 7.” An instrumental this is not, with a chorus by Jodeci and a few party-rhyme verses by Quik – so why bother calling it “Quik’s Groove”? Well, to be fair, the music is actually quite good, which is why I’ve cheated somewhat and featured the instrumental of the track here instead of the vocal album version. Built on a rock-solid foundation of dry ’80s drums and hand claps, Quik peppers the track with guitar slides, a synth bass, and a bizarre chirping sound in the left channel that makes an appearance every now and then. It’s not really a “Quik’s Groove” in spirit but it’s still a trunk-rattling banger, and nonetheless gets my nod of approval.

“Quikstrumental (Quik’s Groove 7) (Instrumental)” – DJ Quik 3:11 (Trauma, Mad Science 2005)

I’d be remiss to not mention the upcoming release from Quik and AMG (known as The Fixxers), due before the end of the year; whether Quik will continue the string of “Quik’s Groove”s remains to be seen.