Masta Ace
Monday, 28 November 2011
Short interiview Of Masta Ace
Masta Ace
Roddy Rodd - Interview
RODDYROD - It was greatly overwhelming to see that we truly have fans here, coming from our ancestry roots that love, respect and know about the music we pour our hearts out to make... it was a very special moment to witness for the both of us.
What did you take with you home from your last trip to the US
KEV BROWN - I took home a great deal of inspiration. It was an incredible experience I'll remember forever. The hospitality was awesome.
What was your impression of the hip hop scene ( the little that you saw ) RODDYROD - S.A definitely knows wassup! There are many dope artists here and everyone seems very skilled and seasoned in hip hop culture as a whole!
What do u expect from this return trip
KEV BROWN - I'm expecting this time around to be even more impactful experience than last. We are working hard to put on a great show once again. I'm looking forward to working with some south african artists if we have some downtime.
What advice would you give to a future artist from the US if they were to visit SA
RODDYROD - Learn about the history of how Hip hop has adapted to SA.. get to know the story and meet the legends who cultivated this artform and are putting SA on the Map!
What come to your mind when you see the words Party People?
KEV BROWN - When I see the good title of "party people" its pretty self explanatory... it just sounds like automatic good times.
What should people expect from your performance as compared to the last one at Party People
RODDYROD - We are giving you the same Dopeness if you caught us the first time, and bringing new things for our fans to enjoy the show!! SA Get READY!!
Thursday, 24 November 2011
Masta Ace - Good Ol Love Lyrics
[Sample]
Give me some of that good ol' love
Ohhhh, let me make you, you
Give me some of that good ol' love
Whoa, ohhh
[Steve Harvey] "Put your hands together and show your love for the
one and only!"
[Verse 1]
Hey yo, the world gon' show me some love, listen
And I'm not talkin' 'bout the fakes hugs and kissin'
Fifteen years, a lot of love is missin'
I done already showed I'm not above the dissin'
I'ma take what I'm owed, won' wait 'til I'm old
The game got rules and y'all breakin' the code
Y'all don't really think I can be hot in the club
Y'all think I'm washed up like I got in the tub but
I'm keepin' it poppin', the streets watchin'
I'm keepin' 'em locked and the beat knockin'
Hear me comin' with this song that I brung in
Daddy-O told me this when I was still a young'un
"Ain't nothin' like hip hop music
That's why we choose it and the world just can't refuse it"
This shit is underground like a gopher
Show a little love 'fore it's over
[Sample]
Give me some of that good ol' love
Ohhhh, let me make you, you
Give me some of that good ol' love
Whoa, ohhh
[Overlapping: sample]
Got to be the real thing
Something you feel thing
Come on, let me make you sing
"Gimme that good ol' love"
Got to be the real thing
Something you feel thing
Come on, let me make you sing
[Verse 2]
Let me put y'all on like a bulb in the socket
In the club niggaz knock it wit' a dub in the pocket
They walk in the store, I love when they cop it
Make you other rappers struggle to top it
But this man flow with the greatest ease
Never did care about the haters, please
He done paid his dues, paid his fees
He done stayed overseas, made his G's
But now I got a wife and she bad as Halle
Her moms is a militant, dad is rowdy
The fans kind of act like they glad I'm outtie
But they prolly sittin' at home sad and pouty
You show me some love, I'ma show it right back
I know a tight track so I throw it like that
My limo driver's white, my attorney black
"Show me some love" like I'm Bernie Mac
[Sample]
Give me some of that good ol' love
Ohhhh, let me make you, you
Give me some of that good ol' love
Whoa, ohhh
[Overlapping: sample]
Got to be the real thing
Something you feel thing
Come on, let me make you sing
"Gimme that good ol' love"
Got to be the real thing
Something you feel thing
Come on, let me make you sing
[Verse 3]
This is for my Shaolin shooters and my Brooklyn teens
Uptown Bronx and them crooks in Queens
I work like a maid when she cooks and cleans
Cuz it's about to be a wrap from the looks of things
The game is changed, the game is strange
The game is lame and it ain't the same
But that's how it is, you can ask Iz
You can ask Biz, we did it for the kids
Listen here, this is different here
If you got an eye for detail and efficient ear
I won't disappear, I'ma keep on givin'
I'ma keep on livin', I'ma keep bein' driven
I'm down to earth and I'm close to ground
And spit shit better than most around
This how hip hop is supposed to sound
Tear them other cats' posters down now
[Sample]
Give me some of that good ol' love
Ohhhh, let me make you, you
Give me some of that good ol' love
Whoa, ohhh
[Overlapping: sample]
Got to be the real thing
Something you feel thing
Come on, let me make you sing
"Gimme that good ol' love"
Got to be the real thing
Something you feel thing
Come on, let me make you sing
[Sample]
Give me some of that good ol' love
Ohhhh, let me make you, you
Give me some of that good ol' love
Whoa, ohhh
[Outro: overlapping sample]
New York, New Jersey, Philly, D.C., Virginia
Chi-Town, St. Louis, Houston, Atlanta
Los Angeles, San Francisco
England, Scotland, Germany, Austria
Sweden, Switzerland, France, Italy
Croatia, Spain, Slovenia, Japan
Austria, Africa, show me love
[Bernie Mac] "Show me some love motherfucker, show me some love"
J-Live Get to know more about Him
Albums
2005 The Hear After
2004 Hot vs. Dope Volume 1 [Mixtape]
2003 Always Has Been c.1995-1997
2002 All of the Above
2001 The Best Part
EPs
2003 Allways Will Be
Singles
2002 Satisfied
Add Album
J-LiveWhat does it take to be a great MCee? Lyrics? Cadence? Vocal tenacity? Craftsmanship? Or perhaps that all-encompassing umbrella term for rhyme proficiency we simply refer to as “skills”? For J-Live (a/k/a Justice Allah), the answer is All of the Above. Having worked as a 7th and 8th grade English teacher in Bushwick, Brooklyn, J-Live is a masterful wordsmith with keen style and grace. As a testament to his belief in the effective power of booty-shakin’, All of the Above features production from DJ Spinna, Usef Dinero, DJ Jazzy Jeff’s Touch of Jazz and the illustrious J-Live himself. J-Live has been exemplifying greatness on the mic since 1995 when he was recognized by The Source magazine in its prestigious “Unsigned Hype” column while still a freshman English major attending SUNY-Albany. Such accolades would prove more than warranted later that year, when J’s independently released debut track, “Braggin’ Writes,” became an immediate underground hit that sold an impressive 13,000 vinyl copies. Sales figures for “Braggin’ Writes” were doubled in 1996 by J’s follow-up, “Can I Get It,” which landed him his debut label deal on Payday/London Records. Because of major label consolidation, J’s “first” full-length album - the now-classic, bootleg-plagued The Best Part - was never officially released on London. As a result, J’s record, All of the Above, was one of the most anticipated hip-hop records of the past few years. What makes J’s music so rare that thousands have bought his records and bootleggers can’t get enough of him? Perhaps a track like “Satisfied?” will shed some light. As a lucid, post - 9/11 assessment of how the “NYPD caps” and “Pentagon stickers” “won’t make the brutality disappear,” J reminds us not to forget the issues that kept us “unsatisfied” in the past. His penchant for positive rhymes, a politically bent stance and a return to the craft of traditional hip-hop makes J-Live unique in his field. “There’s not enough craftsmanship in today’s hip-hop,” J laments. “It’s gotten to the point where kids are listening to records thinking, ‘Okay, well this guy sounds just like him, so what’s stopping me from sounding just like him, too?’ If I’d had that type of mindset when I started rhyming, I’d have been finished, ‘cause they weren’t having that in ’89!” Can a contemporary rap world dominated by paper chases, thug life proclamations and champagne dreams even recognize a great MCee when it sees one? “Yeah, there’s that feeling that a lot of people just aren’t gonna be ready for my album,” J reflects. “But if you don’t put it out there, it’s really not fair. Can you imagine if De La Soul was scared to put out 3 Feet High and Rising because it was so different? Something’s gotta come along and change it.” Something like All of the Above."
(RS)
Monday, 21 November 2011
Get to Know More about Marco Polo Beats
his home in Brooklyn, lives by this mantra. In a few short years the
T. Dot native has gone from green producer with a new MPC 2000XL to
a highly sought after purveyor of boom-bap, laying down tracks for
the likes of Masta Ace, Buckshot, KRS-One and Sadat X. In 2007 the
gifted producer came of age releasing his debut album, Port Authority
on Soulspazm/Rawkus.
A Hip-Hop head since copping the first A Tribe Called Quest album, in
2003 Marco Polo was fresh out of audio engineering school and
despite sending his resume to over 20 recording studios in NYC, was
without a single job prospect in site. Unfazed, he made the move to
New York, staying with a friend in Queens before moving to his
current Brooklyn confines. One day while meeting with recent
acquaintance Ayatollah at The Cutting Room Studio, Marco finagled
his way into an internship at the studio. From then on it was grunt
work-fetching coffee, cleaning up, answering phones-and in a few
months he landed a gig as an Assistant Engineer/Manager
(coincidentally, the same job held previously by one Just Blaze). It
would prove to be perfect locale for Polo to shop his beats. “I
would have my beats blasting out of the office so that when clients
came through they would hear my stuff,” he recalls.After having a
hand in engineering records from the likes of Fat Joe, Talib Kweli and
even R&B crooner Carl Thomas, a Juice crew member put the battery in
Polo’s career after sliding him some tracks. “Masta Ace came through
a Beatnuts session and I gave him a CD and he hit me back a couple
of days later for the “Do It Man” beat that I did on “A Long Hot
Summer.”
Ace wasn’t Polo’s first placement. He had already been working with
respected lyrical crew Brooklyn Academy which includes Jean Grae,
Block McCloud and Pumpkinhead while he had showcased his work at a
Beat Society show in NYC, which led to his relationship with
Soulspazm. But the “Do It Man” track placed Polo on plenty more
radars. Since the song was a late addition to A Long Hot Summer, in
lieu of Ace’s depleted budget the two decided on a trade. In turn,
Ace recorded “Nostalgia” which ultimately became the first track
recorded for Polo’s Port Authority project. Says Polo, “That’s what
set off the whole idea for me to do a whole album. My ode to Soul
Survivor, that type of album.”Polo left The Cutting Room a couple of
years ago, saying, “That was the best thing that ever happened to me
cause it forced me to go into producer role full time.”
Since then, Polo’s beats have sonically benefited folks like Scarface,
Talib Kweli, Pharoahe Monch and Rah Digga. Polo’s creative sampling,
knocking drums and throwback grooves are fresh, never dated; while
the warmth of sounds he is able to achieve has also led to mixing
work for rap legends. “I learned enough [at The Cutting Room] to
take it into my crib and I get a really good sound. So when O.C. or G.
Rap were hearing the sound I was getting and it was sounding better
than the studios they were paying for so I ended up following into
that too. Other benefactors of his skills at flipping samples
include Large Professor, Heltah Skeltah and Ed O.G amongst others.
In 2008 Marco partnered up with the young gun Torae to release Double
Barrel, an album at that put the Boom back in boom-bap hardcore hip
hop. The album was well received by fans who were craving more of
that authentic sounding, timeless hip hop. Following up last years
success Marco hit the studio again with a gifted MC - he & Ruste
Juxx laid the perfect blueprint for hip hop ether on The eXXecution.
Now the focus is the highly anticipated Port Authority 2 project.
I’m just trying to bring up that type of hip-hop that I grew up
listening to that inspired me to get into it,” says Polo of his
sound, before adding, “Hip-Hop is definitely not dead, you just
gotta make quality music and you gotta work extra hard to get it out
there. I gotta just let the music speaks for itself. I’m trying to
show anyone from anywhere, if you work hard enough you can make it
happen, and stay true to it and make some real shit.”
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