BioAdd new Anti Records new signee Tim Fite to the list of infectiously catchy, sample-heavy renegades who's bound to make a huge mark in 2005. Beginning his writing process working much like a hip-hop producer (he was in Little T and One Track Mike!), "sampling" large chunks from his gigantic collection bargain bin records (which he refers to as "cadavers") in order to create a basic foundation for his songs. Bear in mind, he does not limit himself to short clips of music; in fact, the only limitation Tim Fite sets for himself is that the records he works from must never cost more than a dollar. At times he will steal as much as 16 bars of a song with it's full orchestration fully intact. Once the foundation for a song has been laid, Mr. Fite then fills in the blanks with his own music, fleshing out the performances of his unwitting collaborators with added instrumentation, ranging in scope from acoustic guitar to hammer on folding-chair. After the music has been fully assembled and approved, it is time to infuse the music with the reinvigorating breath of life.
This life breath is found in the form of Tim Fite's vocals which stand out as the dominating element of Gone Ain't Gone. Whether singing with a lag-beat twang, spitting like a super-mc, or screaming bloody hell from a burning voice box, Tim Fite seems to always know exactly the right thing to say and exactly the right time to say it, blending his multiplicity of vocal styles together seamlessly. It is truly a remarkable feat that he can switch between such contradictory worlds as old time harmony and straight up rapping without sounding the least bit contrived. The only explanation for this is that Mr. Fite himself is an amalgamate of voices, each one as genuine as it's predecessor, and only through the combination of these voices can he honestly and effectively communicate his ideas. It is this essential codependence of voices that makes the eclecticism of Tim Fite's music seem so unabashedly natural.