As with anything in history, someone always does it — whatever “it” might be — first. In terms of drum sampling, Marley Marl (born Marlon Williams) was an innovator during hip-hop's early days. Although sampling in rap music is common today, Marl pioneered the art of drum sampling before most had picked up on it. His use of pounding kick drums and banging snares, lifted as samples from vinyl albums and mixed with killer drum-machine beats, gave the artists that he worked with a powerful and unique-sounding musical landscape — artists such as LL Cool J, Big Daddy Kane, Biz Markie and Eric B. & Rakim.
Hailing from the streets of Queensbridge — the same Queens, N.Y., housing project of artists such as Mobb Deep and Nas — Marl began honing his production chops as an intern at the now-shuttered Unique Recording Studios. Displeased with the corny sounds of most drum machines, he began mixing elements from the likes of James Brown and Parliament with the technology of the time. Marl found his power in the Roland TR-808 and his signature sampler, an SDD-series Korg Digital Delay (of which he had three). “I was sampling a vocal snippet, but the snare was in there, too,” Marl says. “I noticed it sounded better than the snare I had on the drum machine, so I started to play around with kick and snare sampling.” The new concoction spawned a slew of fresh-sounding, club-booming records that hip-hop kids embraced. “In the parks is where it got started,” Marl says. “I had the [sound] system, and there was an incredible community of musicians [living in Queensbridge]. They would bring their keyboards, guitars and basses, and we'd run it through my stuff and just get it going.”
Although Marl released “D.J. Cuttin” under the pseudonym N.Y.C. Cutter for Tuff City Records in 1985, he had already become something of a household name after producing “Roxanne's Revenge” for Roxanne Shanté in 1984. The track, one of the first diss records, was a response to U.T.F.O's “Roxanne, Roxanne.” Marl's next step to notoriety started with a cut called “The Bridge” that he produced for fellow Queens native MC Shan; Bronx newcomer KRS-One released a response called “The Bridge Is Over,” which heated the battle for borough supremacy.
Not confined to the studio, Marl was one of the first producers to also be an A&R exec. He guided the careers of numerous artists on Cold Chillin' Records, home to acts such as Biz Markie, Big Daddy Kane, MC Shan, Kool G Rap & Polo, Master Ace, Craig G and others. “I used to say that all of those early Cold Chillin' Records were co-produced by the New York City Housing Authority 'cause I built a studio in my sister's crib [in Queensbridge],” Marl says with a laugh. Adds Chuck D from Public Enemy: “His [sound] and arrangements for [all of the] Cold Chillin' artists were set apart from each other and distinct. Marley Marl, in essence, was the one-man production predecessor to Dr. Dre.”
Through the Cold Chillin' artist roster, Marl also put together one of the first real rap crews (long before 50 Cent put together his G-Unit). The Juice Crew comprised Kane, Markie, MC Shan, Masta Ace, Craig G, Kool G Rap & Polo, Shanté and others. As for how it all got started, Marl breaks it down: “There was Shanté, who was a battle rapper, but she needed someone to beatbox for her; that's how the Biz came into it. Then, when Biz did his thing onstage, I knew he was a great performer. Biz had a great writer named Kane, and when I heard Kane on tape, it was incredible. I knew Polo from school, and he brought in G Rap.” And each artist had a different style. “Biz was the clown; Kane was into his raw power; Shan was a fly boy; Polo was into the fly-gangster thing,” Marl adds. With the Juice Crew in place, Marl recorded the first posse cut, “The Symphony,” which became a hip-hop classic.
Marl's style and sonic creativity are sprinkled all over rap in classics such as “Make the Music With Your Mouth Biz” and “The Vapors” by Markie, “Ain't No Half Steppin'” by Kane and “Road to the Riches” by Kool G Rap & Polo. Interestingly, Marl also produced Eric B. & Rakim's classic track “Eric B. for President,” though he rarely worked on anything but songs for his Juice Crew. That all changed around 1990, when he teamed up with LL Cool J to release one of the most successful albums in rap history, LL's Mama Said Knock You Out (Def Jam, 1990). Marl's speaker-poppin' beats and thumping bass helped Mama Said not only become LL's biggest selling album but also earn Marl a Grammy Award.
Today, Marl remains busy producing remixes, developing new artists and scoring for commercials and TV shows. Not one to rest on his success, he is as at home in the studio as he is behind the mic, having also logged a 20-year stint on the radio as a host of various shows. Starting on Mr. Magic's Rap Attack on WBLS in New York back in the '80s, Marl eventually teamed with Pete Rock on WBLS' In Control With Marley Marl and now broadcasts on satellite, syndication and the Internet with his Future Flavas show. Through these broadcasts — not to mention his legendary productions — Marl has helped an endless number of artists become superstars. And with a hip-hop career spanning three decades, something mostly unheard of today, Marl stands firmly etched into the history of rap music.
This page/site was created on my own personal benefit. The opinions expressed on this page/site is no way associated with WWPR or Clear Channel Communications. Any contact you have with the producer, host of this page/site, or anyone else who links to this page is of a personal nature only. The producer/host of this page is doing so with no direction, or official capacity with WWPR/Clear Channel Communications. WWPR/Clear Channel Communications takes no responsibility for any contact made between you and the host/producer of this page, or anyone who links to this page
Music
Hailing from the streets of Queensbridge — the same Queens, N.Y., housing project of artists such as Mobb Deep and Nas — Marl began honing his production chops as an intern at the now-shuttered Unique Recording Studios. Displeased with the corny sounds of most drum machines, he began mixing elements from the likes of James Brown and Parliament with the technology of the time. Marl found his power in the Roland TR-808 and his signature sampler, an SDD-series Korg Digital Delay (of which he had three). “I was sampling a vocal snippet, but the snare was in there, too,” Marl says. “I noticed it sounded better than the snare I had on the drum machine, so I started to play around with kick and snare sampling.” The new concoction spawned a slew of fresh-sounding, club-booming records that hip-hop kids embraced. “In the parks is where it got started,” Marl says. “I had the [sound] system, and there was an incredible community of musicians [living in Queensbridge]. They would bring their keyboards, guitars and basses, and we'd run it through my stuff and just get it going.”
Although Marl released “D.J. Cuttin” under the pseudonym N.Y.C. Cutter for Tuff City Records in 1985, he had already become something of a household name after producing “Roxanne's Revenge” for Roxanne Shanté in 1984. The track, one of the first diss records, was a response to U.T.F.O's “Roxanne, Roxanne.” Marl's next step to notoriety started with a cut called “The Bridge” that he produced for fellow Queens native MC Shan; Bronx newcomer KRS-One released a response called “The Bridge Is Over,” which heated the battle for borough supremacy.
Not confined to the studio, Marl was one of the first producers to also be an A&R exec. He guided the careers of numerous artists on Cold Chillin' Records, home to acts such as Biz Markie, Big Daddy Kane, MC Shan, Kool G Rap & Polo, Master Ace, Craig G and others. “I used to say that all of those early Cold Chillin' Records were co-produced by the New York City Housing Authority 'cause I built a studio in my sister's crib [in Queensbridge],” Marl says with a laugh. Adds Chuck D from Public Enemy: “His [sound] and arrangements for [all of the] Cold Chillin' artists were set apart from each other and distinct. Marley Marl, in essence, was the one-man production predecessor to Dr. Dre.”
Through the Cold Chillin' artist roster, Marl also put together one of the first real rap crews (long before 50 Cent put together his G-Unit). The Juice Crew comprised Kane, Markie, MC Shan, Masta Ace, Craig G, Kool G Rap & Polo, Shanté and others. As for how it all got started, Marl breaks it down: “There was Shanté, who was a battle rapper, but she needed someone to beatbox for her; that's how the Biz came into it. Then, when Biz did his thing onstage, I knew he was a great performer. Biz had a great writer named Kane, and when I heard Kane on tape, it was incredible. I knew Polo from school, and he brought in G Rap.” And each artist had a different style. “Biz was the clown; Kane was into his raw power; Shan was a fly boy; Polo was into the fly-gangster thing,” Marl adds. With the Juice Crew in place, Marl recorded the first posse cut, “The Symphony,” which became a hip-hop classic.
Marl's style and sonic creativity are sprinkled all over rap in classics such as “Make the Music With Your Mouth Biz” and “The Vapors” by Markie, “Ain't No Half Steppin'” by Kane and “Road to the Riches” by Kool G Rap & Polo. Interestingly, Marl also produced Eric B. & Rakim's classic track “Eric B. for President,” though he rarely worked on anything but songs for his Juice Crew. That all changed around 1990, when he teamed up with LL Cool J to release one of the most successful albums in rap history, LL's Mama Said Knock You Out (Def Jam, 1990). Marl's speaker-poppin' beats and thumping bass helped Mama Said not only become LL's biggest selling album but also earn Marl a Grammy Award.
About me: Marley Marl
Queens NY USA
One of rap's first (and finest) super-producers, Marley Marl organized under the Cold Chillin' Records banner an incredible roster of crucial rappers including MC Shan, Big Daddy Kane, Biz Markie, Roxanne Shante, Kool G Rap, and Master Ace. His pioneering use of sampling techniques (best heard on 1986's "The Bridge" by MC Shan) was credited with increasing rap's accessibility. Besides his countless outside productions MARLEY MARL also produced LL COOL JAYs biggest seller to date MAMMA SAID KNOCK YOU OUT and walked away with a GRAMMY AWARD. Marl also recorded two albums of his own, with backing tracks serving as vehicles for displaying a vast array of guest performers. Marl continued producing into the late '90s (including high-profile LPs by Capone-N-Noreaga, Rakim and Fat Joe.)In 2006 hes still doing it bigproducing the entire KRS 1 album titled ALL SCHOOL MINDED. Plus in the studio with UGK from HOUSTON TEXAS recording THE H-TOWN SYMPHONY with all the top texas rappers showing there skills. MARLEY MARL also hosts a weekly .. 1 rap radio show FUTURE FLAVAS in New York on POWER 105.1. And now added FUTURE FLAVAS SOUTH RADIO SHOW to the top southern markets in the U.S. With all the fat production around in using the latest (and most expensive) equipment, its very easy to forget where it all came from in the beginning: one DJ, two decks, and mad scratching skills. Unlike many hip hop / r&b producers which can sound kinda wack today, this producer stands up to the acid test of hip-hop longevity. To quote LL COOL J : Dont call it a come back he been here for years. Believe that. ...........................................................................................................................................................................................................................................................................................................................................................................................................
This page/site was created on my own personal benefit. The opinions expressed on this page/site is no way associated with WWPR or Clear Channel Communications. Any contact you have with the producer, host of this page/site, or anyone else who links to this page is of a personal nature only. The producer/host of this page is doing so with no direction, or official capacity with WWPR/Clear Channel Communications. WWPR/Clear Channel Communications takes no responsibility for any contact made between you and the host/producer of this page, or anyone who links to this page.
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Who I'd like to meet: TALANTED PEOPLE ONLY --------------------------------------------------------------------------
Hi-Tek Presents…Marley And Me
When I was younger, I remember buying the Juice Crew’s “The Symphony” record, and I immediately fell in love with that song. I memorized every line, and must’ve played it so many times that the record sleeve ripped. I even remember sitting down at the piano and self-teaching myself that piano loop. I had never been to New York at that point in my life, and I knew that Queens was far from the ‘Natti, but listening to this record—I felt like I could’ve been right there in the QB projects.
Now let’s fast forward to last week. I am in the elevator in New York, on my way to sit down and record an interview with Marley Marl for his show Future Flavas on Power 105. Excuse me, the LEGENDARY Marley Marl. My mind starts racing and a million thoughts come to mind. All I can hear in my head is that piano loop from “The Symphony”. Over the elevator, the speakers are bumping some club-friendly song that uses the same drums from “Impeach The President.” I look on the wall and see an ad for the radio station with LL Cool J on it and think to myself, “Mama Said Knock You Out.” It immediately reminded me what a huge contribution Marley has made to the hip-hop. I begin to think this man is one of the pioneers of the game, the first dude to really chop up samples to produce records. He was the original “King Of Digging”—he found all the dope break records and manipulated them into works of art. What could I really tell him that I’ve done that he hasn’t done already a hundred times over?
As the door opens, I’m escorted into his studio. My nervousness turns into humility as he embraces me and lets me know what a fan he is of my music. We break the ice by talking about new equipment and mutual studios we’ve worked in—I’m soon feeling as if I’m accompanied by an old friend rather than the larger-than-life person I had made him up to be. As the interview jumps off, I start to feel really comfortable, but Marley’s laid-back demeanor and his questions brought out some of the best answers of any interview I’ve ever done. In my experience, some of the interviews I’ve done ask…I’ve received some generic-ass questions. Marley’s questions were so authentic that I poured out some of the most genuine answers I’ve ever done. He wasn’t asking the questions of a fan or of a magazine editor getting paid to do a job—these we’re sincere questions coming from the heart, from the mind of a fellow producer, a member of hip-hop. Now, in my career I have done many interviews, and I can tell the difference between writers who have been “prepped” versus the people who know of my music, and I was amazed that he was a dear fan of my work.
As we’ve moved on from the cassette tape days to the mp3 days, I think back to the crate of records I have back in my studio, my “Crate Of Classics”. All names synonymous with the golden age of hip-hop: Kool G Rap, Eric B & Rakim, the Big Daddy Kane, LL Cool J, Biz Markie. They are all bound together by one man: Marley Marl. His influence on this music is awesome; he is truly a hip-hop icon. People like him pushed me to do what I do. The Afrika Bambaataas, the Marley Marls and the Jam Master Jays, the true purveyors of our music. I can only hope I leave a mark on this game like they do. Thanks Marley. ........................
I asked God to take away my habit. God said, No. It is not for me to take away, but for you to give it up.
I asked God to make my handicapped child whole. God said, No. His spirit is whole, his body is only temporary
I asked God to grant me patience. God said, No.Patience is a byproduct of tribulations; It isn't granted, it is learned.
I asked God to give me happiness. God said, No.I give you blessings; Happiness is up to you. I asked God to spare me pain. God said, No.Suffering draws you apart from worldly cares And brings you closer to me.
I asked God to make my spirit grow. God said, No.You must grow on your own! , But I will prune you to make you fruitful.
I asked God for all things that I might enjoy life. God said, No I will give you life, so that you may enjoy all things.
I asked God to help me LOVE others, as much as He loves me. God said..Ahhhh, finally you have the idea.
May God Bless You,
"To the world you might be one person, but to one person you just might be the world"
"May the Lord Bless you and keep you, May the Lord Make his face shine upon you, And give you Peace.....Forever" "Good friends are like stars...You don't always see them, But you know they are always there
Big up Marley! I pray that the creator restores you to perfect health. You are the architect of Hip Hop production. Everyone else comes after you. God Bless.
I NEED A SEGMENT WITH THE LEGENDARY MARLEY MARL FOR GET CONENTKED DVD MAGAZINE!!..AND KRS IF YA'LL ARE STILL ON TOURING..LOL..HOLLA!WILL BE PODCASTED AFTER THE DEAL GOES DOWN(WHICH IS VERY SOON..I'M ABOUT TO CASH IN..LOL) YOU WONT FIND A BETTER PRICE AND QUALITY SO HOLLA @ US FOR VIDEO'S..WE INTERNATIONAL AND PROFESSIONAL....RESPECT IT AND GET CONNEKTED..A BROTHER NEED SOME SHOWS TO MY DUDE..I'M TIRED OF HUSTLIN..LOL CHECK OUT THE PAGE FOR THE DEATILS.. C SPEARS..WELL RESPECTING AND WELL CONNEKTD
GET WELL MY INSPIRATION FOR REAL...YOU GOT ME INTO THIS!! Hip-hop needs you MAN!! STAY WITH US FOR 100 MORE YEARS AT LEAST!! GET WELL MY FRIEND....YOUR FRIEND IN THE MIDDLE EAST...D.J. CHICAGO KID!!
