THE GENIUS OF MARLEY MARL- FOUNDATION LESSON #25-JAYQUAN

DJ Marley mall the first time I heard mall demolish name was probably around 82 83 around 1983 dimples deep without a record called sucka DJ put the back track a little bit Marley Marl was the first established definite super producer in rap music you will see his name on several records early on before you even heard of a Juice Crew Marley was the first producer probably outside of pumpkin to really go around to different labels and you would see early on you see his name on pop art records the label pop art out of Philly you would see his name probably more more so on pop art but didn't you see it on Nia and Nia records was a record label ran by the aleene's the fantastic Garland's and you know he had captain rock on that label and you had a super kids spark ad and different people like that but you see Molly mom's name pop up on there he was one of the first DJs producers to anonymously put our records as a producer and artist he had all kind of nickname that you would see on the records so he was really again outside a pumpkin who wasn't a DJ pumpkin was a drummer but definitely credited as a producer outside of pumpkin I can't think of many more people another label that you see Marley is named affiliated with early on was it tough city label you're producing Spoony jeans later comeback classics summer Grandmaster Caz is material so we'll dive into all that a little you know more chronologically later but to go back again double D put a record out in 83 called sucker DJ's and was on Party Time records off the Baker's label and it was based solely on sucker MCs by Run DMC which dropped earlier in that year in fact it was a direct response not like a diss record like the rocks and days but it was a direct response so answer to suck at him cease and the other drum pattern with the same drum pattern just made on a different drum machine and maybe slightly altered but up sucker DJ's was an important record I mean it was a very good Recker for the time one of the first that we would see that was kind of like answer record even though was an addition was a direct answer even her cadence was much like sucker MCs you would one sucker MCs you were here two years ago a friend of mine you know her song you were here I was at a jam so one thing early on it you heard one sucker DJ's you know that you would that would kind of become a Molly Moll staple and the reason that record was so important to his career his style of production in a way that record became an instrument in a way would be okay first is cutting put some odd cutting on the hook of the record it was this kind of sloppy sounding was sloppy sunder was dope at the time Oh scratch that he did but the most important thing about that record to me for his world becoming styled and influenced a lot of other DJ's influenced the whole so-called golden era was the fact that on the acapella demos dee said his name several times so he would make this a staple in a lot of his instrumental stuff that he did like unreleased demo stuff that you hear on tough city later on but even in his early records with Shan like the Molly scratch for instance um you know his whole name is being cut as the chorus and only because Dumbo's dee said is me this is these are the days before you have you know the electronic manipulation of of sounds you know you could just put something on a mp3 or CD and scratch with it if it was it on a record you couldn't scratch with it unless you did something like taking acetate which is still a record and you know making an acetate and then scratch them like that's something like what you heard on beats 2 the rhyme by Run DMC you are here in the beginning before that record starts you're here Jim at such a cutting runs boys you know beats beat beats to the round you you might wonder back then WA how is he scratching it in his runs verse for this song that's because it was on a plate or an acetate and Jim acetate was just cutting the public but back didn't he weren't doing that so if it wasn't said on the acapella it couldn't have it couldn't have been scratched and my DJ friends and people in production will know what I'm talking about you know the pedestrian fan may not completely understand but this will become Marley's signature that name and at the time you know dimples D had a very I liked her voice as an MC and I wish she had done more than she had a very a very feminine voice kind of like like shyrokyne the funky four and she was nice on the mic and it was just perfect that she said his name when the acapella because again that became a signature and almost like an instrument for him to cut his his instrumental tracks or mini tracks and we'll get into those before too long now of course Marley Marl was also a radio personality early in the days and on BLS with mr. magic and you know Marley had his own show you know in competition with red alert and you know being I speak on this and a lot of my lessons being here in Virginia I received a lot of tapes from from New Yorkers and people up north that could get VLS a kiss and those tapes were sent here so I was familiar with Marley Mars name and I erroneously said and I think I believe in the MC Shan lesson I said it ronia Slade I didn't hear Marley Marl aimed so much later but I did hear at first as far as being a DJ and recording artists I think I heard it first on Tempel D sucker sucker DJs which was eighty-three and I probably heard the name before because again I used to get tapes of Marley Marl you know being being partner to mr. magic on the radio and BLS so the name was ringing out early but in 83 that's when we really started hearing it a lot thanks to to temples so on a production into things you know Marley Maul had a couple of nicknames you would see produced by mm I and that was I think Baltimore International or something like that and I used to think that you would see em to the second power on record sometimes like going like f 4000 in problems in the world you will see that it was engineered or co-produced by em to the second power and at one point I thought that was Marley Marl but was actually mr. magic I know somebody with two M's and actually on the fearless for record it says him to the second power equals mr. magic and there are some errors out there like on Wikipedia and discogs somebody said that one of Marley's aliases was in to the second power but that's not correct that that's mr. magic but you would see Molly's name on on different records and then one of the probably biggest biggest records cuz suck a DJ at the time was it was all rap was pretty much underground but it was even more underground in what most rap was at that time so the the next big record was of course Roxanne's revenge which was a response to Roxanne Roxanne by ut'fo and I got to get a UTI phone that's in there too because they are very underrated group what a nice catalog I like I like ut'fo but even before Roxanne ate you know they had a couple a couple of nice joints under their belt or at least one but anyway in response to Roxanne Roxanne Shantae came out with Roxanne's revenge and you hear the name volleyball in there as well and on her video you see my mom so the name you know for those of us outside of New York you know again we heard about him through the radio but of course New Yorkers it was a constant thing you know hearing them on the radio but a few of us in other places that heard the name but Nana name is really ringing out on a bigger level with the distribution of the record so rocks and revenge which was of course you know the diss record has set everything off for the huge so-called Roxanne so Roxanne Roxanne was like 1984 and back then production for rap music you know there's no sampling yet you know production for rap music we were in what I call a middle school era you know era as far as production goes just drum machines and I call the middle because as far as creativity you know the first rap records they could have been like what the tapes used to be in the streets whereas just DJ spinning break beats but of course because of technology and more so legalities copyright law and things like that you just couldn't get on a record and put somebody else's record on there with the exception of like adventures on the Wheels of Steel those by Grandmaster Flash those first few records were just these label owners like Sylvia Robison and you know Peter Brown Paul Whitley Bobbie Robinson taking what the kids were doing in the streets as far as to break beats and having a band to as best as they could recreate those so you had a certain kind of feeling based on those first first two or three years of recorded rap so that was the the first era of recorded rap you know what I call the middle was the drum machine era what all the profile record groups like Run DMC and Jekyll & Hyde and of course you know man trying to came in there at a point and you know just go forward we real heavy on the drum machines were pumpkin to people like that and then that that that next school what they call the golden era was of course by the time sampling caught up or technology caught up where you could sample and what rap would have originally sounded like you know with the breakbeats now technology and legality some what made it so you could do that so those are the errors and the reason I have a beginning middle and in the golden era because after the golden era as far as what hip-hop or rap music originally was I didn't feel like after that probably 87 through the early 90s creatively I didn't feel like much came after that you know people have just been kind of recycling what's already been done even today if you listen to mainstream rap like 808 drum machines drum programming sampling you know in a different way shopping and stuff like that but nothing new has happened so and there's a asset lesson coming on that the golden era which is a really good lesson it talks about the golden era and why the golden era was the golden era and what created the gold so you definitely want to stay tuned for that one ultra magnetics coming to a few good things are coming so look production-wise for rap music in 83 84 this is drum machines and that was you know largely due to Larry Smith you know having the ingenuity to go and redo what Orange Crush had done well action you're doing sucka MC's Polly's crew when all the roads records who was now acceptable and profitable to just go in the studio with a drum machine and just round over drum machine that's way ut'fo basically did you know with some help from full force a little bit on production and I say a little bit I mean wasn't much music and all in Roxanne Roxanne's basically big beat by Billy Squier as a break beat and then drum machine and then Roxanne's revenge a direct reply was again just programming your drum machine to replicate this records your answer so so far Marley malls two biggest records at that point in 84 or doubles Dee's record which was a response to Run DMC not a disc for the response where he's replaying the beat and doing some cuts and then Roxanne's revenge it's basically the same thing a female MC answering a male record replaying the beat this time you know a disarray one of the most blatant probably the first diss record of that magnitude so so you know Molly's name for the general public didn't said he was a genius yet but you heard that name a lot and one of the things I like is to think the street version of Roxanne's revenge he started it out with mr. magic rest in peace the mortal voice of mr. magic but uh the world premiere think it needs to play whenever they play the world premiere he actually had this at the beginning of the record and I was usually like uh a radio promo piece so production wise I should say nothing special you know just you know drum machine programming people have been programming drum machine since if you go back to Grandmaster Flash and the Furious fives full-length LP the message if you look on the back on a special thanks they think I think they call the drum machine today I just bought Willy some lady MX and that's what they used for a few of those records I believe the message you know message was like a combination of a lot of things but I'm telling you this for the purpose of saying it drum machines weren't anything new in 83 you know 808 was used on Planet Rock by soul sonic force and like I said you know 82 that drum machine Willie and Sugar Hill Records they put a lot of people out of out of work and then you had Reggie Griffin from who was actually kind of an outsider at that point you know he came on a lot of drum programming like on survival and Scorpio he took a few people's jobs over there so not to get too far of something but just laying the contacts for you of what was happening with production how the drum machine came in and kind of pushed out that first era of bands replaying breakbeats so then we got some originality more so even though we're Marley was doing was replaying other beats at this time still he was programming the drum machine so that was Roxanne's revenge and then 85 and a lot of people didn't catch this I caught it because I was always one who read the labels on records I was going back to when I was very young and going through my mother and my grandmother's record collections just reading who produced the record where was mastered price since I was 78 years old and 85 there was a record called DJ cutting and it was on pop art and it was credited to the NYC cutter and Roxanne's revenge as well was on pop art which is a label out of Philly and pop art was a very important label for for the beginnings of the Jews crew Mia and pop art you know as far as Marley Mars career and just a Juice Crew in general Mia and pop are a lot of the early records born there so pop art this Philly label you had up steady B was on pop art but you also had Roxanne Sean Hayes first couple joints were on pop art and then later Craig G and the super kids with tragedy who was label later of the intelligent who them you know so those his record call NYC Clinton got a NYC cutter and it was just an instrumental with a bunch of scratching oil and a lot of people weren't confident well Vince a lot of people got it through this pop art compilation that they wisely put out at the time because the rock saying saga was just gaining so much momentum and if you didn't catch the videos you might not have known what Chantay look like so they had this compilation album and it had Roxanne's face on the front of it I think he was like a yellow record cover and it had different groups that were on pop art some of them were R&B artists from the philadelphia earlier days of our being that had kind of been recycled on his label you know in this era and then you know you had Shantay but then you had this NYC cutter record it was hot because you know in that middle part of the 80s anything was scratching on it we were just about so this was like almost akin to the version of life day vdmx doing one for the treble was just an instrumental cut up record which were those records were very hot in the mid eighties what a lot of people didn't know that it was mom's mom so this is one of the first ghosts he was ghost producing on it but he was also like just a ghost artist because he wasn't going by his name and that was that was a first from and wrap him he may have been the first you know perhaps not but at this point Marley's making his bones as a producer and really you know getting his resume out there and getting his name name was immortalized by dimple Dean in 83 now it's being immortalized by Shawn TEI and 84 now in 85 by the beginning he comes with this kind of ghost produced rectal ends NYC cutting [Music] so by this time you know things are picking up and Molly's getting you know getting more work and seeing his name on more records you had yeah Queen of rocks which was the follow-up to Roxanne's revenge yeah run away another Roxanne Shantae right they're all produced by Molly Mars name dropped several times on your head like this where I'm Shantae is basically having a conversation with him you know half of her rhyme or two lead up to the hook it's saying you know you want to be a biter you want to persist what's your debut Molly Molly cuts no bike this so at this point in his name is really getting out there and all of this is you know within the time period of 8485 that are there run away in queen of rocks fight this comes up and transformer by Craig G he's you know he's producing that don't you know joint and again producer back then there's a thin line you know back at that time mainly the person who worked the drum machine or sometime the person that just engineered the record was known as a producer but it's always been kind of like a a blurred line there as far as rap records I remember Sylvia Robbins's name would be on a Sugar Hill record as a producer and she may not have done anything as far as technically drum machine engineering or anything at all but she had a production credit so it was always kind of a blurred line with rap records on what a producers role was and with that there were some controversies later on you know and this is me skipping a little bit but it's kind of relevant there's some controversies later on with some of the artists under Molly Mars wing saying that oh well you know I brought these records into the studio when I produce my records so all Molly did was work the boards or whatever a couple artists have said that in interviews so for some of the later stuff you know there's some question unfortunately or what was done on earlier records I'm talking about right now I think you could safely say that Molly was behind the drum machines and the cuts in and what a producers role was in that capacity at the time now by this time again I've mentioned records by Craig G mentioned Shantay pop art and what you're getting at this point you know the juice crew was actually originally south from the disco fever that may have been his creation I think when I interviewed him he kind of alluded to the fact that that name and that idea was was his butt juice at that time was power you know people who have power had juice and originally was people like Sal the omen the owner of disco fever Kurtis Blow mr. Magic Flight I who was the CEO of cold chillin records which was later to home to the whole juice cool we'll get to that so it wasn't a juice crew wasn't even a group of recording artists there may have been some recording artists down with him but they're basically people out of the fever and out of that radio community where magic and Molly Moll and then the name is kind of later adopted but his crew of MC so we can see the genesis of the Jews crew with those early neo records as far back as Nia in pop art as far back as 84 85 so at this point in time is moving quickly you got 85 a lot a lot happened in 85 as far as Marley introduction technology you know everything was moving fast and a lot of us who were on the end of just being listeners might not have realized just how fast was moving in the next three or four years what would take place 2085 the tragedy by the super kids was release and that like I said on tragedy the intelligent hoodlum was actually you know doing the main vocals on him he sound like a little kid on me and again we still had the big beat kind of production those big drum machine beats there was still you know still in fashion at that time and Marley was still very good at [Music] [Music] so that was near records 85 super kids a tragedy if you go back now go back you go forth in that same year I don't remember which one I heard first and that same year on the same label me up you had Shan in his probably second record I believe I believe feed the world might have come out before Marley scratch you gotta go back to my lesson called at war with Giants and it's the MC Shan lesson and I'm a little more chronologically tight than I am today but um I'm pretty sure feed the world came out first I believe either way on Nia and 85 there was Molly scratch now this is the time when Molly made very very very good use of the doubles the acapella and he's coming into his own he's using some techniques that you could see to this day for instance it's a might like DJ premier who's directly influenced by mom and Pete Rock any of the producers from that so-called golden era in that era of the early 90s late 80s who these are producers that are DJs you know first they became producers you know learn how to find good sample blah blah blah chop up drums which is the real genius of Molly mother we'll get to very soon but one of the things they did as well they all are known for are scratching phrases either for a hook or just as their signature so a guy like primo or premier that's his thing I don't care what he produces at one point what he touched he was gonna find some kind of scratches to illustrate what the mcs were talking about he was always a master at that and he would take like a he was real good at taking prodigies boys you rest in peace and he would scratch that to reflect whenever the MC was talking about or if the song is called mass appeal he's gonna find a record it's got to worry master pill in it and he's gonna scratch it for the hook that's directly a molly-molly technique you can probably quote me on saying nobody was really scratching voices from acapellas to make it part of the hook before volleyball I will I'm very confident that's a multi-model creation and you can hear it very pronounced on the molly scratch and again only because dimple Dee's dimples Dee said it I mean you know if that record had went any other way and she didn't drop his name as many times as she dropped it you know his whole history would have been different but not only did he cut the parts with just his name he would cut further parts that had other phrases and make it Rama what the MC was saying so we didn't really dope at that point [Music] [Music] yes indeed this is what this is what made rap records so beautiful you know we talk about rap we talk about the emcees but you know very soon I got a couple more MCS that got it away in groups to get out of the way and I'm gonna start going more into DJs and production techniques and cutting and styles of cutting how et had a certain style Marley Marl had a certain style Mix Master Ice had a certain style Davey DMX I'm gonna get into that for my next few lessons after I get this ultra lesson out of the way in a few more and then I'll come back to the MCS but that's just such the beauty again sometime as a listener if you don't know production you don't know records and how a regular originally went and how to DJ deconstruct it and put it back together and you really you still don't understand the genius of rap records yet but at a time all the great DJs had their own sound or own scratch and it was really like the instrument the record is an instrument but the sound on the record is definitely a manifestation of that instrument so you had a cat like grab mixer DST would take a piece of the end of Fat Freddy's record changed a beat and you know it's the most cut record amongst all DJ in fact some people use it too much at this point in my opinion but anybody who scratches when they practice they scratch using the vocoder for a mom from the Fab five afraid records change the beat and the record says at the end ah this stuff is really fresh and you had a person like DST who was scratched afresh part because it sound too good he's like a computer robotic voice and he used it you know of course he used it on a rocket and he'd use it on a few other records and then everybody just follows suit so that was definitely his trademark and now has become everybody's trademark but it was his first and he actually did production on the rocket too which is crazy anyway putting it back in perspective then a cat like Mixmaster ice instead of taking a fresh body cuts just to beginning the AH you know and he really dominates that he was the leader of the pack any of those records so everybody every good DJ at the time was trying to find something that nobody else had scratched or nobody else had made their own a cat like Davey DMX if you listen to one for the trouble he was cutting for us to just like DST did but he took the piece from the Mardi Gras by Bob James a little drum a little drum stuttered it comes in and he made that huge so all that was really dope back then for those who are really listening and knowing their records and for Marley he would soon develop a style of scratching and he definitely made that that double D record he made that his his trademark now on the wheel is Molly Molly is is kind of funny on the wheels you know you got a there's a few DJ's and out of respect I'm not gonna really go into it but yeah I think people I really listen there's a few DJs who their style is really kind of sloppy and it's not necessarily from lack of speed a couple of them is lack of skill but a couple of casts they're they're scratches are kind of like are like a drunken style almost but they make it work and to me Molly was always like that Molly was never the greatest DJ because his cuts weren't really tight but then when he fell into the music it was always dope especially if you get to stuff like on some a business stuff nobody beats the bids when he's good enough like it's kind of sloppy but if he did it tight he wouldn't have felt right with the vegan again if you don't understand you know the DJ you may not totally understand what I'm saying but as a DJ again I'm not taking anything from Marley the mixes he did on the air are still in my head I still got the tapes of him but as a recording DJ owned those records The cuts were seldom perfect but they were perfect for the record and and that's a great thing that's a compliment actually so about 86 you're starting to hear more of what's gonna become the Juice Crew and at this time I'm always really busy if you consider the records that are starting to pop up and the fact that he has a gig at BLS you know where he's you know doing a late night mix show on the weekends you know he's running around doing a lot of things by this time now I don't know what the first time I heard the name juice crew it really could have been on a juice crew All Stars record that wasn't until 87 I'm not remembering right now but I know that by 86 G rap is on the scene with as a demo and you know Rikers Island and those things are coming along make the music by biz there's no need for me to play any of those because I did a G rap lesson you can go check out chronologically all of that you know everybody knows business records but one record I always love Bob Marley and again we going back to that heavy drum machine style but now we're starting to get some engineering tricks going on as a record call get physical by steady beat it was on his album bring the beat back now get physical there's a lot of reasons I loved it I love the beat I love the drum programming on the beat and I love the effect they put on his voice you know we used to rap back in the days you know if you couldn't afford a microphone you hook your headphones up to the mic jacket you rap through the headphones and it sounded like [ __ ] but it was a certain dynamic that it gave this sound like an old-school tape you know when Katz was kind of unclear in their vocals either because they had a a [ __ ] mic or because there's rapping - you know a homemade echo chamber whatever it was they gave my dynamic to the voice and that's what they did I'll get physical with steady these boys stay kind of it sounded almost like this rapid or my tunnel almost a tunnel effect and that was on purpose of course and I love the production on it because okay Molly's cutting on in and he's scratching up a part of a record by man used to bungle I think that's how you pronounce it but it's the mucosal record but he's cutting just the end of the horns and it was really genius how he did it [Music] [Music] yes indeed great memories of that one I kept that I had to study be bring the beat back album and I also had the the cassette and that stayed in my Walkman the beats on that album were incredible and of course you know bring the beat back was incredible you know all of the beats were incredible but get physical was just it stood apart from anything else on that album to me and adian always looking at the records back then I knew immediately there was a production of Marley Marl I was already following Marley Marley everything he was doing now again his lesson is called a genius and Baltimore and this is where the genius comes into play I don't know when he started doing it but I noticed when it was publicly displayed and it probably was nothing to him at the time but this is where the true genius comes in 86 we all know the story to bridge and beat biter okay very briefly beat biter was based off of the fact he allowed him to talk about this different interviews and they they did it incorrectly chronologically the weight and it went was Shan dropped the Molly scratch ll drop two versions of rock the bells on both of his versions of rock the bells the drum pattern is just like the Molly scratch drum pattern Shan claims that he and let ll hear a rough version or demo version of the Molly scratch they were in like the same show in Connecticut you know somewhere backstage or what I was saying let him hear it and then you know according to saying you know some months later or whatever you know ll drop rock the bells and then Shane came back will be by and you know about it by now you know this records are becoming more and more anal juice crew is right at the helm of it I mean you had Shantae with one of the most it wasn't scathing for now but back then you know to actually call somebody all by name you know that was a perfect ploy for her to get into the industry let's just say hey you know my name is Roxanne but you know these cats made this record and I'm called myself Roxanne Shaun sayin she jumped in there before they could get their own rock saying so that was great but as far as the disses go Shan is directly dissing L on B but again you go back you listen to my channel essen that's called at war with giant so in 86 there's this label set up called bridge records and there's some kind of subsidiary of pop art which again is the Philly label that I've talked about a couple times here and I know that it was a so I'm gonna joint venture between mr. magic I'm sorry now mr. magic between flight I Marley and this is the genesis of what cold chillin records is about to be at this time and I'm pretty sure you'll see pop arts name on the bridge record you'll see the name pop art somewhere on the I can remember that so one side is the bridge the other side is B pipe now B by two just a regular you know standard drum machine again good drum programming but you know just more the same but the bridge is actually the drums from impeach the president and their DJs and everybody this is nothing new everybody knows it but we got to remember everybody in a deejay everybody don't know break beats and he's a cat's who love rap they love rap music they love rap records but they just don't know the genesis and the source of every drum sound so you know I'm not saying anything is groundbreaking to a lot of people here but to a lot of people they will see oh [ __ ] Marley Marl was it's genius now as far as sampling goes people have been doing it for a few years when when Kurtis Blow did if I rule the world use the Fairlight sampler he used it on AJ ego-trip album and that was probably 84 I would say as a sampler called a fair light it was a huge sampler I was like a big computer and it was not affordable to the average person and because he was on paw the ground mercury he's using his sampler that Herbie Hancock and all these guys are using but they weren't looping records with it they were using it for other purposes but you know rap cats was like okay I'll take this record and it's usually loop it so this is a beginning of if I wrote a world you got Kurtis Blow looping pump me up by trouble from now again that's probably more like 85 that's on the America album if you go back to the ego trip album which was the year before that he was actually sampling for a day instead of having a Jay scratch the records you hear like the little horn stab it that's all a fair like sampler now later on when cats got to the point and at that point Kurtis Blow would you know use that pump me up or whatever he's sampled in the background and still put a drum machine over well when it got really really to the street essence of everything cats just start saying look I'm just gonna sample you know whatever there's the funky drummer impeach the president whatever it is these are all break beat some name I'm just gonna loop it and keep it going continuous now we're getting back to the essence of what what this hip-hop thing really was you know in the mid-70s when DJ's were taking to records and continuously having them going or which is credited to what's a flash you know back spinning and things like that the technology and the legal means didn't exist in that in the 70s but by the mid 80s legally is still ain't there but we kind of just rap is still so far under the radar that we just kind of taken records and we're looping them and the labels don't know what cash money so Marley was early with the with the looping of samples man Stronach was with sampling he wasn't looping but if you go back and listen to there's a record car brother Green by Roy Ayers and if you listen to a song called breaking bells that man tronic produces by Tila rock you in Horn gold an antenna if you listen to that that was an early sample I don't think he scratched that he and I think he needs a sampler either wait we're starting to see the cats are digging into records now mixing that name to drum machine and that was what was going on up until 85 86 but people started looping these break beats so a break be like substitution which is a dope Rigby you know use famously by ultra magnetic the ego tripping and then several more people you know skull snaps you know see what I know there break beats you know what I'm talking about people that don't I'm just naming naming records that have popular drum patterns and sometimes they don't even last you know half a bar and you know you get a sampler and you loop them continuously so you'll need a DJ to to be precisely what I'm a computer is continuously looping this same part and that's what everybody was doing so it was creative but your creativity was limited by okay I like this loop so I'm gonna loop this and it didn't even have to be just drums if you liked just two bars of something they had horns drums and everything and he just took it off a song like be myself and I by De La Soul it had everything from the Funkadelic God knee-deep it he just looped it all and of course that was later in the 80s you know 88 89 whenever that was but what I'm trying to get at is was loops at a point Molly Moll in 86 on the bridge heats up impeach the president about a honey dripper which was a little-known record at the time and he had been doing work with tough city records a lot of stuff of Grandmaster Caz like again he produced Spoony G's comeback record with the Godfather and taking off but if you go back Arif you choose to sometimes pay Marley with the records it's got a paying him for a session you know and if you choose to be a writer for one of the you know one of the trade magazines and he owned a label called Surf City and he had the cold crush brothers a spoon easy and a medium Mac people like that and he had you know a nice record collection of obscure funk and he would just let Marley have records in lieu of a painting money I think I used a loo correctly Oh buddy but instead of paying the money say look you know I got this crazy and somewhere along the lines of Molly producing for Erin Fuchs he got this adhesive president and instead of just looping it he said wait a minute I like the kick snare and hi-hat but how can i clay him the way I want to plan like the sound of him but I want to play on my way so you know I don't know if he accidentally did it I don't know if it was a thing of you know because you're dealing with limited sample time back then now cats got you know minutes in minutes and hours of sampling time but back then you know your sampler might have had you know a couple seconds of sample time so you know you're sampling different things within your records so a kick it takes you know a microsecond to happen is Boop and in a snare is cap and he manipulated or isolated the kick and snare do what you call truncating it to cut all the extra pieces off then he reprogrammed them in the way that he wanted to okay so I don't like being on camera that much but to show you what I'm really saying with the genius of Marley Marl I felt like I had to go a step further on this lesson um and this again is not for producers and people who are immersed in the production and breakbeats and record collectors you notice stuff this is very simple ABC elementary to you we have to realize is the average listener even the most avid lovers of rap music don't necessarily know how it's created and the techniques and the breakbeats and everything so the way that Marley started what I'm calling the genius of one of the elements of his genius was anybody else was rapping over impeach the president or any any other break just a loop of it and the loop this is a piece of president it was his goal [Music] and that's just a loop continuously looping the section of the record that you wanted any that breakbeat could have been at the beginning middle in anywhere in the record and the bridge of the record the middle because what it really was was the breakdown part what he called a get down part of the record with my man Pete DJ's journals recipe is called a gut bucket part the part where the percussion usually it's most dominant all the other instruments drop out in all kinds of genres of music have have a break it doesn't have to be funk with jazz or anything that's sold or anything that's um you know sing it's black music or funky or whatever the country country music has breaks every every genre of music as a section in some of his songs where the percussion is most having the rest of the instrument drop out that's the breakdown and we call them break beats and again everybody else was wrapping around it over to Luke but Marley went deeper into the DNA of a actual loop it said okay I don't want just this loop I want the individual drum sounds I had a drum sounds go but I don't want to be profound to this pattern as funky as a pattern is so what he did was he went deeper into the break beat so he isolated as a kick hi this is just going through the actual this sample is a waveform basically you're going through the waveform you isolating the part that you want and listen to the snare I'm even thinking more they could have been doing this earlier than the bridge I mean when I'm listening I'm thinking like the juice crew all the stars it sound like I'm not saying he was doing this then but that snares come out of that intro you can definitely hear some a chance for his album using that but as I think about get physical which I talked about earlier steady B's record that Marley Marl produced I'm thinking that might not have been a drum machine on his own that snare sounds a lot like not necessarily a piece to president but it sound like it could be a record who knows I would love to talk to Molly and just you know piggies piggies brain about some of some of that stuff but so what he did instead of being confined to what's the isolate he was able to you know the story goes it's like an urban legend I don't know some people say it's true some say it's not but supposedly the night that mr. magic and Marmol were together at Power Plate studios and magic dist Boogie Down Productions because they wanted him to listen to that demo and he said it was wack or what I've wasted time supposedly when they left Marley left his disk with all his drum sounds on it the cash from bdp got a hold of it and they made the bridges over he was at his drums and you know he had a simple drum pattern just like leave the way that's the drum pad and they got it from impeach the president a million records have been made when it freeze to impeach the president I mean but not just a piece of president whether you talk about substitution what are you talking about is this cold snap record God made me funky funky penguin and then a million more obscure records there are not you know in the Canon of records everybody talks about that's all you know these Rigby compilations to this day you know twenty eighteen people are still using these techniques are not just assemble drums but it's too simple horns or any part of the record what do you want to go and chop it up and get individual pieces and then put it back together Somali started something that still is in effect today as specified what they call boom bap production and that's why that's why I spun back because the sound is Wow and I think the first time that we heard boom bap was a special cake and seeing the rock is yours you know is there mimicking the beat to his yours you hear them going boom boom bap bap another time I heard it before it was a standard definition for genre of rap was when they might have been pushing along my tribe called quest's I heard q-tip said the boom the bit so if you go back and listen I think I talked about on a freaking track record if I haven't talked about it yet it'll be talked about in the lesson obviously these same drums so cuz I like to move the crowd again a million different uses usages of those drums and that's the genius may not sound like a lot now because people have been doing it for almost thirty years but when it was done at first everybody didn't know what was being done and he was like what kind of drum machine is that and it wasn't a drum machine ever it was samples they were isolated truncating it and replayed it in the fashion that the producer wanted to be replayed in that started with the great DJ volleyball piece might not sound like a big deal but you revolutionized rap production because point everybody's doing it everybody's saying where do you get those drums from and in the beat cats are so I know that connects from that's the old bring be from back in the day and then people start doing what other records um God made me funky by by the headhunters anything skull snaps anything that had a good drum sale had good drums never were doing is called chopping and again I'm very confident that Marley Marl was the first one to chop drums isolate kick and snare and reprogram them in the fashion that he wanted now if you go and look on YouTube for I think he calls them special recipes or something like that putting in mildly more special recipes he goes he breaks down and shows you exactly every sound because the bridge also had like a siren sounded and that was something he ran backwards from from a record called scratching you know the way he made the bridge was just genius or multiple lovers but the main thing I'm talking about never the genius of Marley Marl on top of everything he had done to that point isolating the kick and snare it took everything over the top and people who still sample and chop samples to this day you know when you're going on wherever you're gonna eat baby wherever you're driving buying drum kits by these different producers these kids are a lot of times just these guys took old records and chop them truncated them down and they isolated the kick and snare that wasn't being done before mom people were just looping the whole record before mom you take a record like do to James by a super love of seeing and casting over Paul see resident Peter producer on he did a lot of not filtering we did a lot of eat Ewing to make those drums sound a certain way you know and to dirty it up but it was just a loop you know of the same record and pista president everybody had used a pista president later on but Marley was the one to say instead of looping this I'm taking kick hi-hat and snare now because as usual I'm running a lot later than I planned on running there's so many other things you take it's a demo the original version is a demo not the remix you know and rap a lot of times they're great records that are ruined by the remixes once album comes out like check out my melody and Eric B is president advised by already being rock him perfect records as they were and then when album drop they got these remixes that were to me very odd remixes and very unnecessary remixes it's a demo original was a perfect record the way the drum machine was programmed and then the way that the funky drummer by James Brown and Clyde Stubblefield rested piece to boat the way that was sampled it wasn't just straight-up looped like a lot of people moved it and that was as far as I know a Marley Marl production at least he's credited with it again um Frick and frack had a record with those same drums freaking frack - Phoebe I MC for Queens same drums from impeach the president which are the same drums from the bridge but again he isolated on a plate on high he wanted yeah the thing about Murali he didn't run that in the ground it's not like okay now every time he does a record it's gonna have you know isolated kick and snare he still continued to do his programming of drums if you go back to 87 when shanz down by law LP drops you know I think living in the world of hip-hop he definitely did the same thing he took those those drum sounds and from the impeach the president and replayed them but then on most of the other songs he's either going after looping samples like we looped old KC and the Sunshine Band joint from I get lifted kill that noise and you know it's that whole LP he produced all over the way lover for Heavy D and he chopped is a James Brown song and when I go back and put the video on top of this out I'll put the record there because I can't remember the song but on the song James Brown says get down and then the drummer back is his snare he takes that he was overweight lover that's one of Teddy Riley he's go to Sam's almost a tree had a joke back in the day that's Teddy's only snare everything every song had that that's snare from James Brown but of course you know 87 have a nice day you know loops on that nobody beats the pitch that's wherever you listen at the beginning when he's cutting the record but called def fresh crew by business Shawn TEI he's cutting up to hum he's Biz Markie and he's just cutting again he's transforming it and it's kind of sloppy but it falls into the beat so perfectly that's just such a dope intro again the genius of Molly Moll later on picking boogers which you know the drum break from that again was loop and that was I believe Grand Central Station a jam you know in which none of this is a secret now you know one point you wouldn't dare talk about records like this and where the drumbeat came from but I mean you know those that know I've known for quite a long time now now very important at 87 this is when Andre Harrell who used to be dr. Jekyll from Jacqueline high who made records on the same label as Run DMC did back in the days and we're part of Harlem world who from way back in the days Andre Harrell who was down with Russell Simmons and you'll see him you see the glue those guys a lot in the crust groove movie their career you know he had am/pm in a couple a couple of nice nice joints definitely that was probably the biggest and best record was am/pm and fast like but my point is Andre a rail under the tutelage of Russell Simmons most likely because Jekyll and Hyde their whole thing was a head album called champagne a rap if you look at them they had suits and ties on and that didn't it just didn't catch you know you look at their album cover they had reading The Wall Street Journal and in one song I was cold chillin in the spot one of those songs where Russell Simmons is talking through the whole song he's like he's got suits and ties you know he you know he's Isley you know dogging them for that for that image but it you know that didn't work for them but what they did end up doing both of them was successfully going into business so for dr. Jekyll he he does Uptown records or starts up telling records back in like 87 and uptown kick it is kicking it is the kickoff project for the label you know later on Mary Jane tides with you know record uptown Heavy D in the boys you know puffy would be an intern and later do his own thing but at this point uptown is kickin it is one of the leadoff songs along with mr. big stuff by by having the boys a very nice video for uptown us kicking it where you know you actually showed them come in and bum-rush you know the kind of board Board of Directors type meeting MCA records and you know shows a little merger between uptown and MCA but a very important part of the video and song is the breakdown because raleigh mall produced Uptown's kickin it he had a song on the soundtrack couple songs on the soundtrack as well but uptown is kicking it he does his this little breakdown a gig going back to that double sucker DJ's from 83 I can remember back in the days I hadn't seen that video everybody on the school bus and whatever we talked about you know new videos the song everybody's talking about this uptown it's kicking the video of course I heard the song I had the soundtrack with the video everybody's talking about get Marley's on the wheels and then everybody comes up and starts cutting his name and I'm like man I gotta I gotta see it again I heard it but I'd never seen it so that was a nice visual for back here and like I said very interesting that he's taking it back to you know three or four years previous with his dimples D a cappella piece now again you're incredible things are happening for Marley you know seems like every year several incredible things you know the Uptown kickin is kickin it was a nice project form and then on the flip side of that single was a song called he cut so fresh now he cut so fresh that and base game and uptown sticking here all on his soundtrack but this is a single and it's the extended thing because because so fresh was originally just again an instrumental cut record it was very creative you know Marley is cutting some of everything and those were great days for though they remember you know every MC they had a DJ that most MCS back then did have a DJ and had one that he talked about a lot in their records you did they always had at least one song where it was just an instrumental with them just cutting over a drum machine cutting whatever he wanted he PMD their DJ's Caleb boss you know audio DJ's always had like a instrumental even underground groups like JB's seafoods you know game curcas out there on his own instrumental to cut Run DMC out of the gate on their album James Gang you know that was just a great time creativity and rap records he cut so fresh was actually just was a brilliant record he's cutting a part of jam after Jam in by Run DMC and they not even say that he cut so fresh they were saying his so fresh but you know he's making it sound like he like is saying he cut so fresh again a very creative time for for rap music and one of my favorites was that era so again a instrumental in the beginning and then on that 12-inch they flipped it and less and and rhymes on it and I liked both versions they eat cute it a lot better beefed up the drums again it was a piece to president drums again you know isolation and truncating those drums now eighty-seven amongst all those other songs that I talked about you know in the Uptown project and everything he did this is on cold chillin and that's fly ties label in conjunction with Warner Brothers most of the Jews crew you know by this time we're recording on cold chillin he did juice crew all-star which is a posse cut you know one of the early posse cuts there were others before and you take it all the way back technically to Sugar Hill Gang a sequence being together in eighty on her own rappers reprise was a posse cut you know by about any definition it was but you had Posse cuts but juice crew all-stars was what we was gonna see bubble up and become the symphony you know Shan ji rap you know tragedy all the wanted horn able to be produced by Marley and you know Marley cutting up - oh my goodness and everything you know a nice a nice record at 87 but eighty eight Marley has his own like the equivalent of a Quincy Jones you know Quincy Jones as a producer just brings different artists he works what he does these albums where you know he's probably doing more arranging and what would a producer in arm be and classical music you know which is what Quincy is he's doing more of that kind of stuff getting the right people together you know advising on what you know don't don't let this rock as long as you rock and it cut this in half you know that's what Quincy does on these compilations there are his albums so Marley fry the first DJ to have that type of album again you know as a super producer he's the first to do so many things in 88 he has his album in control he's on the front you know he in control sitting in an airplane and you know great album you know we write the songs by Heavy D in the biz um duck alert you know he's going back and forth for red alert at that time you know you know this record dropping science by Craig G and in a remix to drop of science and you know if you listen to that remix to have a very familiar a little little bass line type thing going there biggie you later you know in the original the original drop in science was already good enough with the make it funky by James Brown but that remix was definitely hot even dunk alert thank you sample dog funky president by James Brown and you know he's cutting all through it you know it was a nice album one of the most slapped on joints that I love was live motivated by tragedy that was that was dope it sounds like that baseline was was played out you know it's actually played on a keyboard and no samples there in control man that said it that sets of [ __ ] off in 88 our senior year I never forget it I never forget bringing the record to school I don't know why we used to bring records at school cuz we like by that time we weren't able to play them I guess you just bring the dish to show people you know I guess caster hey you know primarily cassettes they can listen to them in their in their Walkmans or whatever we just bring them to pass around on the bus and look at this and you just look at it all day long you couldn't do [ __ ] wouldn't put on I remember bringing that record to school and that was it was a hot record so of course you know the thing that really really was monumental about that album was the symphony and you know is a million stories about the symphony from Kane and G Rap not really it was started as something that was supposed to be between Kane and G rap because they Iran together on Raw originally sometimes played on the point BLS radio station in New York you know as a version with a brawl with Kane Angie rap and the popularity of that made them say okay well let's do something else together so the symphony was gonna be that and then you know Craig Z got on and then masta ace got on Shane declined to be on when I interview saying Shann told me that he didn't want to be on the record because he didn't think he'd get paid he's like that's one of marley tricks mallya gets you all in there and say hey we just doing this for fun and the next thing you know is a record and that's what shannon says but i don't know you know of course everybody else there's no angels brokaw laughter you know I have to recorded everything you did the photo session and Shannon just broke out but supposedly you know legend has it after the photo session for the album's is when he went in recorded to Symphony again another genius production now on this one as far as the breakbeats go there wasn't he sampling and isolated isolating of drums it was actually a drum loop for the drums and the wrecker uses a 45 that he uses a very obscure record might have been less than a hundred copies pressed up it was some kind of promo for a radio station in some city I can't remember the whole story but it was credited to Rory oh and Chuck Kolbert and it was called do it your way and it just had these dope drums a big at the beginning and instead of chopping them up he used them as is he manipulated him but he didn't chop him and isolate him a trunk hit him like I spoke about earlier only two records really involved in the symphony that was that the Rory o record and then there was hard to handle on the version by Otis Redding a couple versions was the port is ready version and that's it but it's classic it was the defining Posse cut it's the posse cut of Posse cuts everybody talks about who won between Kane and G rap and you know but everybody did well you know Craig G killed it you know master ace did women everybody that participated in this Symphony you know kilter Symphony so again that's the that's the blueprint even though what in the first boxing cut by any means it was the blueprint for Posse cuts and again I say the genius of Marley was definitely come chopping those samples up the drum samples just the way that that will reverberate through the whole not just the music industry just now bedroom producers to this day that are uploading stuff to SoundCloud and YouTube and putting on their Facebook be chopping up drums um you know it extended the the hole digging thing you know like we still would have been digging but cats you know stop looking for loops and it gave life to to what could be done as far as sampling you know cats took it to the point of okay I'm not just gonna chop up drums like Mars I'm gonna chop up porn just I'm not saying that Molly didn't do it somebody else wouldn't have done it you know I hate those kind of hypotheticals you know because we don't know they whatever not we know who did it and you know we know again it reverberating throughout the whole subculture as far as production and it still goes strong to this day you got a credit MALDI for that now because I thought I could do this in 30 minutes and I'm already past the hour you know that's really the most I can say but you know for your own for your own research with oh that don't know and want to know more you know go back and listen to sort of in control LP bullets in the business first LP go listen to Shan second first in a second LP sense second LP so underrated again if you go I speak in much detail on the Shan lesson at war with giants much detail about the second album and actual samples I wish I could get specifically into what he did for spoonie gee there's not too many cats outside of like a coup Modi spoonie gee and I probably say Dougie fresh which is kind of funny those three all have a lot of commonality you know same neighborhoods all in beat Street together anyway those three cats it's not many cats outside of them that came from the original era of you know right there before records or right there at records rap records you know in the late 70s to become relevant again in the mid 80s Dougie fresh was one who didn't do as much in those early days he was there but he didn't really blow up into the show but but all three artists um they made noise you know at Harlem were on all the different clubs that were going on it to be getting a rat records and right before rap records and they blew up again in the so-called Golden Age and for Spoony I don't think that he would have blown he blew up to the point where in 87-88 he was touring with the jungle brothers in Public Enemy and what was defined as the Golden Age of rap records and he was doing it based on the Godfather and take it off mainly and those are Molly Moll productions you know Molly scratching on the horns from soul power 74 by Maceo and the max I think I'm right on that the drum machine programming on taking off you know he bought a spoon eg back he bought ll back you know ll to me you know he took a big misstep on walking with a panther and you know I'm not welcoming no arguments about that people argue all day about the album but I think Mia shaved off probably four or five songs it would have been a much stronger album but my point is that if not for Molly Mari mixing jingling baby then coming back and doing the whole mama said knock you out album who knows what would have happened without well Marley single-handedly and I ll we'll probably agreed I think I maybe heard him say an interview hardly brought him back with that album cane chain said he produced his own first LP he said he had all the records even something like wrong and he knows the records that was in there he said he he knew what he wanted to do a row he said you know Molly engineered it but it may have done some arranging but chain said he came in with his own stuff in fact Molly didn't like the horns used on arm that was Kane's idea but I'm just telling you what's credited to tomorrow if you go back and look at the records they're credited to Marley G Rap road to the riches album your poison you guys listen to poison go back and listen to the road again the way the cuts are listened to roll to the ridges the way that Marley's cutting the Hutt from assembly line it's not meat by the standards of what DJ's were used to define what a neat transform Scratchy it was it was sloppy by our standards but it worked sloppy I don't know if that's because Molly just was sloppy in his cutting or because he was genius enough to say let me do it in this way make my hand a little lazier and not as tight on his scratch I don't know what was going through it you know hopefully one day I speak to him and confirm those things but astatically couldn't be replicated you know even of one try and they're just so many other things you know Lords of the underground you know this is back in mid 90s you know Lords an underground remember at one point they used to play their return to the funky shout so much or I won't be et it was like damn you know this beehive stocking in the indirectly but he will wear it out but you know I'm missing several things I know but you know you've got to do your own research and that's a good thing about the age we live in and the internet anything I'm saying you know Google Marley Marl Google is discography and you know you'll hear more than what I mentioned here but I think I did a good job of you know giving you a good foundation of what what he started where he started what his significance is to the game I think he's as much as he's mentioned I think he's not mentioned I think he's highly underrated again influencing some of the best you know anybody talk about as far as being implemented for the best I'm sorry weather is primo what Marley what are you talking about cares like 9th wonder you know whoever's dripping out your mouth as far as names as birds as far as production he has directly influenced them and they talk about it in interviews like primo and Pete Rock always do and those that don't mention it maybe they don't know that the influence came he hadn't done certain things that lineage just falls down you know somebody picks it up and does something different or does the exact same thing but that's what the influence is and again the genius of multi-ball so again because people asked me all the time and he put it on the comments and everything I'm pretty sure that next is gonna be ultra magnetic my man RBI DC what's up I was talking to him back in November last year you just talking about different and Cesar's probably we're probably together 2 to 3 in the morning just talking about different emcees and you're talking about cool keeping we're talking about ultra and just based on our conversation I told him I've been wanting to do altra for a while but you I got it I got to do these things with the brute kind of hits me and I'm trying to go a little chronological like people be trying to you know say oh when you're doing feral much and I'm like I'm really the way I'm doing this I'm doing it somewhat chronological in a way and when I finish is gonna kind of tell a story as far as the evolution of rap records the whole art of it so I can't I can't come up to somebody like feral months yet there's like a whole world of stuff and black thought in all those catching it because because I'm going in the direction they're more lyrical him since I started with just the first the first cats you know before records and then right at beginning of you know I started with like the field is full and pumpkin and cats like that and I kind of made the jump to hyperspace do rock him and that's when people are stalking a lot of followers a lot of shares G raps and all that you know I start seeing my father in China increase and believe me I'm a fan of Pharoahe Monch I'm a fan of you know people do west coast you bias to get no I'm not biased but you gotta realize that you know for a long time until probably you know mid to late 80s you know who's know west coast rappers making records yet so I'm going in in a way in a chronological order so I'm gonna get to high road I know I know those guys made don't you know dope off records they're dope Nerissa's I would love to sit down and dissect Black Thought in fact the Freestyle that he did you know by guess was back in these summer back the end of 2017 I started to really do one on that but you know I just I mean felt like getting into it the spirit wasn't moving me to do it at the time and the way my duties I never know what the next one is gonna be I never sit on a plane yeah I'm pretty sure the next one's gonna be ultra cuz ultra was supposed to be now but I was just sitting around listening to music and certain things that influenced me I was like [ __ ] people need to know more and more did more than just you know he's the Jews cruel he made you know deep to the self and they need to know how he did these things and what led up to what was he doing five years before December where you know when he cuts his name ready to come from I like to get into the DNA of all this [ __ ] that's that's what that's what I'm about so again I got a ut'fo joint I haven't it's in my head I have it I don't write anything down I just write these bullet points they know to keep me organized but I don't write down any script I'm just kind of talking so that's coming ultra is coming before that but the very next thing for probably about three or four in a row I'm gonna do cat and I may do maybe three or four DJs on one I'm not sure but cats like silver spinner I think he's out of Brooklyn I was whistles DJ even though he didn't do a lot on record he did some [ __ ] on record that need to be talked about because of the influence of the Mix Master Ice goes out saying for those like Howie T that swingin scratch that he did how it was a bad man cats like Kirk kazow cats you know a lot of DJ's that you know I need to go even if I just do 2025 minutes or more less I need to go and show their scratch style and how advanced it was at the time how it led to one thing always leads to another as with anything else you know something that somebody did back in 82 or 83 I'm sorry more like probably 84 85 and was scratching was more dominant records something somebody did back then it might have gotten past the again the pedestrian listener or pedestrian famine amusing but you know there were some of us who were actually doing it in our bedroom to cut the fact that way whoa whoa whoa you know how he teach swung that stretch in a way how was he holding his wrist when he did that [ __ ] like when you go back and listen to how he teed off you know if you listening and you know how a scratching is done when you hear the way that he was cutting that up that brick that dad's just go jazz by brick and you hear how he swung it you know you know I remember sitting with my DJ you know cuz I'm an MC a DJ but I'm gonna MC you know first I sit with my DJ and we was both like just looking at each other we heard how he teed off so anyway j-kwon the foundation hope you enjoyed it hope you found it intriguing enlightening educational entertaining and all that good stuff you can hit me up on all social media at j-kwon VA that's je y qu am the a you can hit the website the website i'm finally making it look like at least a 2015 you know of not 2018 that joint was looking like 2003 for a long time but I'm finally getting it um you know to the point where the stories are updated your some pictures were missing you know the website is feeling real neglected for a long time if you go tha the foundation comm you know a lot of interviews that were lost that I hadn't you know I didn't know what he where I found him trying to clean them up and a lot of the stories that me and Troy Smith there my man from Harlem a lot of those stories were lost to found those check out the foundation and you can hit me through email je quand je y QA n @ da foundation t88 foundation.com peace [Music]

Channel: The Foundation

Views: 43,440

Rating: 4.9164577 out of 5

Keywords: jayquan, the foundation, hip hop, rap, old school, boom bap, juice crew, marley marl, big daddy kane, kool g rap, mc shan, roxanne shante, biz markie, masta ace, the symphony, craig g

Id: 5tGI6cPrmYA

Length: 80min 49sec (4849 seconds)

Published: Sat Jan 27 2018