I was excited about how KRS-One would sound over Marley's beats, largely because Marley Marl is an experienced and damn good producer, and also because I never know what I'm going to get from KRS-One. I mean, he built his career on that in the '80s when he answered MC Shan's "Queensbridge" record with "South Bronx" (the south, south Bronx!). It always reminds me of Biz Markie's "Just a Friend". Plus, it's not like he's toting a "gangsta" persona or a "playa image", both of which seem like they'd be less believable after a rapper hits a certain age. Well, what about in "The Teacha's Back" when KRS-One claims he and Marley Marl are bringing it back to the "Golden Age"? [5] Producer Madlib stated in an interview that Marley was the first producer who inspired him to make beats. Long Live the Kane is the debut album by American rapper Big Daddy Kane, released by Cold Chillin' Records on June 28, 1988. Just like we shouldn't forget Digital Underground or Tone Loc. Answer: I knew that would come up. John Darnielle explores new sounds on his 19th studio album as the Mountain Goats—and creates his best record in years with Getting Into Knives. The acronym in the skit stands for "Marley And Red Living Everyday Youthfully". I just don’t want no impostors.’ He’s older now, still looks great from what I hear. Or on Sex & Violence, he interviewed himself in the song "Questions & Answers". We’re doing the interview and Marley Marl calls in. Admit it! For his 15th album - the man sounds extremely fresh. That’s my brother.’ We went inside the studio and I said, ‘Let’s see what you know.’ We went inside and started pulling up beats. "Hip Hop Dictionary Outro" (co-producer) Sauce Money - Middle Finger U. Very nice. I wouldn't miss the release date of a new Final Fantasy videogame to listen to it, but I'd get around to checking it out. The celebration is also evident in the upbeat "This Is What It Is" and the Latin-tinged "Musika", featuring Magic Juan and a seriously well-placed horn loop that shrieks happily into outer space. ", a skit with (who else?) The Gospel Music Association honors the best in Christian and Gospel music at the annual ceremony. He was also famously shouted out by Drake on GRAMMY-winning single, “The Motto,” a nod that he credits with significantly increasing his profile. More appropriately, in "This Is What It Is", he says, "Now it's time to hear from the philosophers". Despite the initial confusion, Mall says the tables have started turn as many now assume Marley Marl is behind many of his recent hit records. We’re walking to the studio and he’s like, ‘What do you about Mac Dre?’ I said, ‘What do you know about Mac Dre? So I was playing it and the snare sounded better than the snare that I had from the drum machine when I was popping it."[8]. Over the past few years, autobiographies have become a staple in hip-hop side-hustles. Question: With Hip Hop Lives, it seems KRS-One and Marley Marl set out to craft a response to Nas' Hip Hop Is Dead LP. With familiar faces such as Pete Rock and DJ Premier, A-Trak and Kendrick Lamar coming out to show support, it was all love…. A short time later pioneering hip-hop radio DJ Mr. Magic heard Marley Marl's remix of Malcolm McLaren's Buffalo Gals, leading to Marley becoming his DJ. During a recent conversation with HipHopDX’s Live With Steve Lobel, Mally Mall detailed how he was often confused with legendary producer, Marley Marl. Since the song laments hip-hop's unsolved murders -- from KRS-One's pal Scott La Rock, to Tupac and Biggie, to Big L and Jam Master Jay -- that bottle sound gives the tune a pour-out-some-liquor-for-your-homies vibe. Make sure you typed in your email correctly. I don't see how that can be irrelevant. 1986 saw the foundation of Cold Chillin' Records, where Marley served as in-house producer for many projects. I can't stand the sing-songy chorus, though, with KRS singing, "We keep rising to the top", followed by a Jodeci-like "Gimme all you got, gimme all you got". I really just wanted to the mall after one take, but Marley always made me do it again. I got into the entertainment business and used that to push the love for the music and facilitate the houses, the cars. On the positive side, KRS does expand slightly on the core concept by suggesting that rap murders can turn into something symbolic, that the tragedies can be reduced to images with the effect of encouraging some listeners to emulate the hype. If you're into the history of rap at all, a collaboration between these two guys should at least raise an eyebrow like, "Hey, that might be interesting."

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