Marley Marl Juice Crew Unreleased Acetate 4 Hip Hop LP

$

250

Marley Maul - Juice Crew Unreleased Alternate Acetate Set 4 Cold Chillin Greatest Hits Old School Hip Hop LP 

After a good deal of research I have concluded that this set of 2 1-sided DMM (Direct Metal Mastering) acetates is an unreleased alternate version of a record album that was not even released to the public until 5 years after this original acetate set was mastered.

This set of special DMM acetates was mastered on April 20, 1990. The name of the album according to these acetates as listed on the labels of the acetates is "Cold Gold". The name of the record album for these acetates as listed on the special cardboard cover for side B of the LP is "Cold Gold Greatest Hits". It is the unreleased alternate acetate version of what was released some 5 years later as "Cold Chillin's Great Hits - The Juice Crew Story".

If you examine  the labels of these acetates and compare them with the released record album, the differences will become clear. There are songs listed on the acetates that do not appear on the released LP record album. This album version was never released and probably never got past the acetate stage of record production. It has recently been determined by me with some assistance that all of the tracks including some version of "Live On Stage (Hip Hop)" were released prior to the mastering of this acetate on different albums by various members of the Juice Crew. However, as of this writing, there has not been a discovery made of an record or compact disc anthology of songs by the Juice Crew with this particular selection of music. It would, therefore, still be precise to say then, that this particular album was never released. 

There have been a couple of anthologies of greatest hits by the Juice Crew. The one with the most similarities to this set of acetates is "Cold Chillin's Great Hits - The Juice Crew Story". This collection was released on March 6, 1995 - almost exactly ten years ago. This collection had the following track listing:

1. The Bridge - MC Shan

2. Make the Music With Your Mouth, Biz - Biz Markie

3. Juice Crew Allstars - Juice Crew Allstars

4. Kill That Noise - MC Shan

5. It's A Demo - Kool G Rap & DJ Polo

6. Have A Nice Day - Shante

7. Nobody - Biz Markie

8. Raw - Big Daddy Kane

9. Road to The Riches - Kool G Rap & DJ Polo

10. Just Rhymin' with Biz - Big Daddy Kane

11. Symphony Vol. 1 - Marley Marl featuring Masta Ace - Big Daddy Kane - Craig G. - Kool G Rap

12. Aint No Half Steppin' - Big Daddy Kane

The name of the unreleased alternate acetate is " COLD GOLD GREATEST HITS'.   It was mastered on April 20, 1990. The track listing is as follows:

Side A.

1. The Wrath of Kane

2. Vapors

3. Have A Nice Day

4. It's A Demo

5. Left Me Lonely

6. The Symphony

Side B

1. Biz Is Goin Off

2. Live On Stage (Hip Hop)

3. Road To The Riches

4. I Pioneered This

5. Smooth Operator

6. Just A Friend

Upon examing and comparing the titles of the two it becomes evident that the acetate set is an early version of compilation album that does not see production and distribution until five years after the mastering of this unique acetate. Which makes these acetates a one of a kind collectors item and opportunity. 

The condition of these acetates is very good to very good plus. There are some surface marks and some surface noise when the acetates are played. Mostly they look and sound excellent, they just aren't perfect. I had them listed as excellent earlier, but I am grading them a little harsher now. There are variations of color on the surface of the acetates that are due primarily the oxidizing of the surface of the copper acetates. Who is going to play these anyway, I recommend framing them frankly. They look great!

DMM acetates were manufactured for only a brief period of time between the late 1980s and the early 1990s. They were part of the process of creating DMM (Direct Metal Mastering) and were quickly supplanted by the domination of compact disks over records during this same time period. Copper acetates of this time were cut in extremely limited quanities of usually no more than five for a given project. The production cost of one copper acetate was in the neighborhood of four to five hundred dollars each in United States currency.

DMM copper acetates are very heavy in weight as well as in cost. A copper acetate is probably at least five times heavier than an ordinary acetate. This is why shipping for this item will be more expensive.

For the purposes of information I am including an article I wrote years ago that was published in an early edition of the Goldmine Record Price Guides called "What is an acetate?"

The Juice Crew has a place in the history of hip hop and rap music that is equaled by few. I refer the interested to the biographies gathered from the Internet and listed below to acquaint the reader with the history of this group of musical pioneers.

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What is an acetate?  By Christopher Chatman

MANY TIMES I’VE BEEN ASKED ‘WHAT ARE ACETATES AND TEST PRESSINGS?’ FOLLOWED CLOSELY BY ‘WHY DO THEY COST SO MUCH?’. RECORD COLLECTORS ARE CONTINUALLY IN SEARCH OF THE ‘RAREST RECORDS’, THE ‘BEST PRESSINGS’. THIS HAS MUCH TO DO WITH THE DEMAND OF PROMOTIONAL RECORDS: THEY ARE USUALLY MUCH RARER THAN THE STOCK COPIES AND, BECAUSE, OF THEIR LIMITED PRESS RUNS, BETTER SOUNDING. HOWEVER, PROMOTIONAL COPIES - AND EVEN TEST PRESSINGS - PALE IN COMPARISON TO ACETATES, BOTH IN TERMS OF SOUND QUALITY AND PARTICULARLY IN RARiTY.

ACETATES (a.k.a reference lacquers, reference discs and masters) ARE THE FIRST STEP IN THE TRANSFER OF MUSIC FROM AN ELECTRONIC SIGNAL TO THE ACTUAL PRESSED RECORD. THEY ALLOW THE MUSICIANS AND PRODUCERS TO HEAR WHAT THE FINISHED RECORD WILL SOUND LIKE WITHOUT GOING THROUGH THE TIME AND EXPENSE OF THE PLATING AND PRESSING. AFTER ALL, THEY MAY DECIDE THAT THEY DON’T LIKE A PARTICULAR VERSION OF A SONG AND CHANGE IT OR NOT RELEASE IT AT ALL.

ACETATES ARE USUALLY BLACK 7" AND 12" IN DIAMETER. WHILE MOST OF RECORDS ARE MADE OF VINYL, ACETATES ARE MADE OUT OF ALUMINIUM COATED WITH CELLULOSE ACETATE. THUS, WHILE THEY LOOK LIKE RECORDS, THEY WEIGH APPROXIMATELY FIVE TIMES AS MUCH. THE CELLULOSE ACETATE FOR THESE LACQUERS IS MADE AT A VERY HIGH LEVEL OF QUALITY CONTROL. ACETATES ARE VERY EXPENSIVE TO MANUFACTURE, THEREFORE RECORD COMPANIES NORMALLY MAKE ONLY FIVE COPIES OF ANY ONE RECORD.

RECENTLY, WITH THE SHARP REDUCTION OF VINYL RECORDS, THE NUMBER OF ACETATES MADE HAS DROPPED DRAMATICALLY.

AFTER A RECORDING HAS BEEN TAPED, EDITED AND EQUALIZED, AN UNCUT ACETATE, OR ‘BLANK’, IS SENT TO THE MASTERING LAB WHERE IT IS PLACED ON THE TURNTABLE OF AN ELECTRONIC LATHE SYSTEM. THE MASTER TAPE IS PLAYED THROUGH A LATHE SYSTEM AND ELECTRONICALLY TRANSMITTED TO THE CUTTING NEEDLE SO THAT THE MUSIC LITTERALLY CUTS MICROSCOPIC WIGGLES ANALOGOUS TO THE SOUND WAVES THAT THEY REPRESENT DIRECTLY INTO THE ACETATE COATING. BECAUSE OF THIS DIRECT CUTTING FROM THE MASTER TAPE AND THE HIGH QUALITY OF THE CELLULOSE, THE SOUND IS SUBSTANTIALLY BETTER THAN A RECORD.

AN ACETATE WHICH HAS RECEIVED APPROVAL IS CALLED A MASTER LACQUER. AFTER A LACQUER HAS BEEN CUT IT IS SENT TO A FACTORY TO BE ELECTROPLATED WITH NICKEL. A LABEL FROM ETHER THE MASTERING LAB OR THE RECORD COMPANY IS USUALLY GLUED TO THE DISC; REFERENCE DISCS MAY HAVE NO LABEL AT ALL AND MASTER LACQUER RARELY DO. ALTHOUGH ACETATES ARE NORMALLY PACKAGED IN PLAIN WHITE SLEEVES, IN RECENT YEARS MANY ARE SHIPPED IN SPECIAL BOXES WITH COVERS; THIS EXTRA PACKAGING TENDS TO ENHANCE THE DESIRABILITY OF THE ACETATE.

AFTER THE MUSIC ON A REFERENCE DISC HAS BEEEN REVIEWED AND THE RECORD PRESSED, THE ACETATE IS THEN DISCARDED. ACETATES SHOULD BE TREATED EVEN MORE CAREFULLY THAN RECORDS. DUE TO THE BRITTLENESS OF THE CELLULOSE, THE ACTION OF PLAYING AN ACETATE WITH A PHONOGRPAH NEEDLE IS QUITE DAMAGING TO THE DISC’S SURFACE. AFTER FIVE PLAYS, THE NEEDLE BEGINS TO CUT AWAY THE FINER MICROSCOPIC GROOVES WHICH PRODUCE THE HIGH FREQUENCIES. IT IS THEREFORE ADVISABLE TO PLAY AN ACETTATE ONCE, RECORD IT ON TAPE, AND THEN CAREFULLY STORE IT AWAY. ALSO, ACETATES CHIP EASILY; HANDLE WITH CARE.

THE NICKEL PLATING IS THEN PEELED AWAY, WHICH RESULTS IN A NEGATIVE METAL PRINT OF THE LACQUER COMMONLY REFERRED TO AS A ‘MOTHER’. THE FIRST PRESSINGS TO BE RUN OFF THE MOTHER ARE TEST PRESSINGS; THE FINAL STOP BEFORE THE RECORD IS ACTUALLY MANUFATURED FOR MASS CONSUMPTION. TEST PRESSINGS ARE VINYL FACSIMILES OF THE ACTUAL ALBUM; THAT IS, THEY ARE 12" RECORDS PRESSED IN EXTREMELY LIMITED RUNS, USUALLY AT A PLANT THAT SPECIALIZES IN TEST PRESSINGS. IT IS NOT FEASIBLE FOR THE LARGE COMPANIES TO TURN THEIR ENORMOUS MACHINES TO PRINT A HANDFUL OF RECORDS.THESE RECORDS ALLOW THE PEOPLE INVOLVED TO ACTUALLY HEAR WHAT THE RECORD WILL SOUND LIKE AS AN LP. THEY MAY HAVE SPECIAL LABELS OR THEY MAY BE BLANK. TEST PRESSINGS ARE CHECKED FOR SOUND QUALITY AND TECHNICAL DEFECTS; IF THEY ARE SATISFACTORY, THEN THE PROMOTIONAL COPIES ARE PRESSED, GENERALLY FOR DISTRIBUTION TO RADIO STATIONS. FINALLY, THE COMMERCIAL, OR STOCK, COPIES ARE PRESSED FOR SALE IN YOUR FAVORITE ENDANGERED RECORD STORE.

A RECENT VARIATION OF THE USUAL TYPE OF ACETATE IS THE DIRECT METAL MASTER, OR DMM. INSTEAD OF BEING MADE OF ALUMINIM COATED WITH CELLULOSE ACETATE, THEY ARE MADE OF STAINLESS STEEL COATED WITH POLISHED COPPER. THE SIGNAL FROM THE MASTER TAPE IS CUT DIRECTLY INTO THE COPPER. THIS TECHNOLOGY, DESIGNED TO IMPROVE THE SOUND QUALITY OF RECORDS, WAS DESIGNED JUST AS THE DOMINANCE OF COMPACT DISC WAS FORCING RECORDS INTO RELATIVE OBSCURITY. THIS, COMBINED WITH THE FACT THAT DMM IS VERY EXPENSIVE TO CONVERT HAS RESULTED IN FEW MASTERING LABS INVESTING IN THIS NEW METHOD. THEREFORE, DMMM ACETATES ARE VERY RARE AND, BECAUSE OF THEIR BEAUTY, HIGHLY PRIZED BY COLLECTORS.

by CHRISTOPHER CHATMAN)

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"The Juice Crew" Biography from amazon.com

 As one of rap's pioneering families, the Juice Crew and their Cold Chillin' imprint churned out an improbable run of classic hits which virtually defined late-1980s hip-hop. Boasting a line-up of Craig G, Big Daddy Kane, Biz Markie, Roxanne Shante, Kool G Rap, MC Shan, and a young Masta Ace, the loose collective benefited from their contrasting personalities, varying moods, diverse styles, and prodigious output. And oh could they rhyme. Kane ("Ain't No Half Steppin'") and Kool G Rap ("It's a Demo") represented the Crew's grittier persona. With their twin assaults of rapid-fire flows and streetwise boasts, the pair was a heavy counterweight to the booger-picking clowning of Biz Markie, the deft freestyles of Craig G, or the young brashness of Roxanne Shante. With legendary in-house producer (and familial mastermind) Marley Marl behind the mixing board for classics such as "The Symphony," "Ain't No Half Steppin'," and "Droppin' Science," the Juice Crew was truly hip-hop's first "first family." --Hua Hsu

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from  allmusic.com

Marley Marl: Biography 

One of hip-hop's first (and finest) superproducers, Marley Marl was an early innovator in the art of sampling, developing new techniques that resulted in some of the sharpest beats and hooks in rap's Golden Age. As the founder of Cold Chillin' Records, Marl assembled a roster filled with some of the finest hip-hop talent in New York: MC Shan, Big Daddy Kane, Biz Markie, Roxanne Shanté, Kool G Rap & DJ Polo, and Masta Ace. His production work for those and many other artists generally boasted a bright, booming, and robust sound that — along with his ear for a catchy sample — helped move street-level hip-hop's sonic blueprint into more accessible territory. Most important, though, were his skills as a beatmaker; Marl was among the first to mine James Brown records for grooves and also learned how to craft his own drum loops through sampling, which decreased hip-hop's reliance on tinny-sounding drum machines and gave his '80s productions a fresh, modern flavor.

Marl was born Marlon Williams on September 30, 1962, and grew up in the Queensbridge housing project in Queens, NY. He became interested in music through local talent shows and neighborhood parties and became an accomplished DJ during rap's early days. He did mixing work on a number of singles for the old-school hip-hop/electro label Tuff City and started up his own Cold Chillin' label, which he initially ran out of his sister's apartment in Queensbridge. Marl set about recruiting for what became one of rap's first talent collectives, the Juice Crew. He caught his first big break in 1984 when he produced Roxanne Shanté's "Roxanne's Revenge," one of many answer singles inspired by U.T.F.O.'s underground smash "Roxanne, Roxanne"; luckily, "Roxanne's Revenge" was the biggest and it put artist, label, and producer on the map. Marl trumped it by helming "The Bridge," an ode to Queensbridge by his cousin MC Shan that became the unofficial Queens rap anthem and inspired a spirited feud with Bronx native KRS-One. With Marl's success came the opportunity to produce artists outside the Cold Chillin' stable, which he did with the monumental Eric B. & Rakim single "Eric B. Is President," as well as full-length albums by Heavy D & the Boyz.

The end of the '80s is often referred to as hip-hop's Golden Age, a time when the form's creativity was expanding by leaps and bounds. Marl's Juice Crew was an important force in ushering in this era thanks to its advances in lyrical technique and the distinctive personalities of emerging stars like Biz Markie and Big Daddy Kane. With business at Cold Chillin' booming, Marl put out the first full-length release under his own name in 1988 (he'd previously recorded the single "DJ Cuttin'" in 1985 with the alias NYC Cutter). In Control, Vol. 1 was mostly a showcase for various Juice Crew affiliates to strut their stuff, most thrillingly on the legendary, larger-than-life posse cut "The Symphony." Marl scored his greatest crossover success in 1990 by helming LL Cool J's Mama Said Knock You Out; bolstered by Marl's state-of-the-art production, the album restored LL's street cred while becoming his biggest seller ever, making Marl an in-demand remixer. 1991 brought the release of In Control, Vol. 2, which unfortunately displayed signs that the Cold Chillin' talent pool was being depleted.

After working with TLC on their 1992 debut, Marl remained mostly quiet for a few years; 1995 brought the release of House of Hits, an excellent retrospective of his best productions over the years. Splitting off from Cold Chillin', Marl spent several years in a legal battle over money and ownership rights that, in 1998, finally resulted in his being awarded control of all the songs he'd produced for the label. In the late '90s, Marl's status as a high-profile producer was restored thanks to his work with artists like Rakim, Queensbridge's own Capone-N-Noreaga, and Fat Joe. In 2001, Marl put together another compilation of original productions with guest rappers for the British BBE label, titled Re-Entry.

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from  vh1.com

Kool G. Rap  never rose to superstar status during his late-'80s reign as a

leading member of Marley Marl's Juice Crew, but the Queens-bred hardcore rapper endured for over a

decade, eventually enjoying a renaissance in the early 2000s. Throughout

his tour of duty, G Rap maintained a reverent following, mainly among his

original late-'80s/early-'90s fan base and the subsequent wave of gold-age

revivalists. Cold Chillin' furthermore repackaged his key recordings with

DJ Polo periodically over the years, so G Rap remained visible even as his

productivity slowed considerably. While countless other golden-age rappers

thus fell by the wayside, G Rap quietly ascended to legendary status,

perhaps as recognized in the early 2000s as he had been during his

late-'80s prime.

The "Kool Genius of Rap" began life as Nathaniel Wilson in a rough section

of Queens, where he first met Eric Barrier and Polo, two friends with a

mutual interest in hip-hop. While Barrier went onto a short-lived yet

successful career as the less-acknowledged half of Eric B and Rakim, Polo

and G Rap collaborated and released the It's a Demo/I'm Fly 12" on Cold

Chillin' in 1986. This legendary single was the first of several; "Streets

of New York," "Poison," and "Road to the Riches" also being noteworthy

singles. G Rap also graced Marl's "The Symphony," a performance that

promised him legendary status in itself.

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from  the website hiphopnz.com

Tragedy Khadafi - Interview by Mark Thomson

"We have half the world talking, dressing and acting like us." -

Tragedy Khadafi

 --

Queens Bridge housing projects on the 41st Street side of 12th

street in New York City are the biggest housing projects in the

United States spanning 6 blocks. The legacy of Queens Bridge, and

the talent within it's burgandy bricks have spanned over 20 years of

Hiphop history.

"Before there was a Wu-Tang Clan there was The Juice Crew; the first

example of a Hip Hop unit from one area." states Tragedy Khadafi.

Before KRS 1 was even known on the streets and airwaves of New York,

the Juice Crew - Marley Marl, MC Shan, Kool G Rap, Big Daddy Kane,

Roxanne Shante, Tragedy Khadafi (formerly Tragedy The Intelligent

Hoodlum), Biz Markie and Craig G - were already established, and

making noise with MC Shan's "The Bridge" which immortalized Shan's

historical perspective on Hiphop's place in Queens Bridge. KRS 1

came out and made "The Bridge Is Over" attacking Shan and Marley

Marl (Then producer for Shan and The Juice Crew).

KRS1's lyrical beef with Shan and Marley spewed out into the radio

waves, DJ Red Alert (From the Bronx, home of KRS1) had a radio show,

as did Marley Marl, whilst they were still in the heat of lyrical

battle with one young LL Cool J from Queens who jacked a beat from

MC Shan for his debut. It became borough vs. borough, none of which

were short on soldiers. Tragedy explains

" We felt a tremendous honour to be repping Q.B. so of course we had

no love for KRS1 or anyone affiliated with him. We took it as a

disrespect, like when Bernard Hopkins disrespected Felix Trinidad's

flag! But eventually we grew up and realized it wasn't personal, it

was business. In theory you can thank Shan for KRS1, he in all

respects helped KRS1's entrance into the music biz, and I am sure in

KRS1's mind he can appreciate my view on this."

MC Shan, Poet (now part of Screwball), and Roxanne Shanté each

contributed to some of the most aggressive 'beef' tracks in Hiphop's

history, all the while they were re-defining Hiphop's identity and

image. "Marley (Marl) invented sampling in hip hop production; cats

were on some disco type ---- before Marley came and changed the

game." states Tragedy.

"Primo (Gangstarr's DJ Premier) is like one of my students, he told

me that every record he makes is based off of ³Nobody Beats The

Biz², (Biz Markie's first record) from the cuts [Marley cutting up

³Star Of The Show² with his voice]. He said 'yo, that¹s where I get

that from!' When Primo cuts up three and four different things on a

record, he told me that he is patterning all these songs from

³Nobody Beats The Biz²; and the way I did the intro.." says Marley

Marl on his contributions to current Hiphop.

Tragedy has his take on everyone elses contributions from Q.B:

"Shante was one of the first female pioneers. The world should

consider the fact that when we formed The Juice Crew there weren't

any other crews of that magnitude in the hip hop world. Before there

was Special Ed there was Tragedy. Before there was Lil Bow Wow, Lil

Romeo and all of the other young artist you can think of there was

Tragedy."

All grown up now, 31 year old Tragedy has made himself known as

being responsible for birthing the latest generation of the Bridge's

legacy: "Q.B has proven itself for over a decade......we already

made a legacy that has yet to matched! We pioneered that east coast

thug s--- with Mobb Deep and when I put together "The War Report"

and groomed CNN (Capone-N-Noreaga) that

was straight up history CNN blew up with virtualy no airplay.

Cormega put out an indi-record through Landspeed and sold 100,000

copies with no radio play or video, do the math that proves the

strength of our foundation. I believe true fans will recognize that

Nas and Mobb Deep aren't the only artist repping Queens

Bridge......Nothing will stagnate my hood!!!!"

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from  the website for the movie Freestyle: Art of the Rhyme 

Craig G

Seminal member of the classic Marly Marl headed Juice Crew all-star

posse, hailing from the infamous Queens Bridge Housing development.

Honing his mic skills in Queens, Craig was first approach by super

producer Marley to do a rendition of "Shout" a hit song for the rock

band Tears for Fears when he was only thirteen years of age. " I

used to harass Marley every day. He'd come down the stairs and I'd

be banging on the pole in the staircase rhyming." Evidently his

determination paid off, after the success of "Shout" Craig was

quickly granted Juice Crew membership, so by age seventeen, Craig

was already holding his own with the likes of Big Daddy Kane, Master

Ace, Kool G Rap and the other members of the "Juice Crew". Craig-G

has an impressive track record of hits, from "Dropping Science" to

his electrifying verse as one fourth of The Symphony on the track of

the same name, who could ever forget that one, "Next up, I believe

that's me". Since then Craig has divulged most of his time on the

underground circuit, confronting rappers at popular battles. Craig

shows why he has longevity in this game and why he is one of the

undisputed kings of the freestyle. A fierce freestyle competitor,

Craig penned most of the battle rhymes for Eminem's

semi-biographical movie, 8 Mile, in which he also appears in. With

such a list of accomplishments and being a long time friend of D&D

Records, it seemed only natural that Craig be signed to the label.

The much-anticipated 1993 battle, which pitted him against MC

Supernatural at the Lyricist Lounge, is one of the most talked about

events in 90's underground hip-hop. With the help of Alchemist,

Large Professor, Rocwilder, Dj Premier, and Marley Marl he put out

an album entitled This and Now that droped in May of 2003.

www.craig-g.com

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Translated from the French website www.hiphopcore.net

Marley Marl

If there is a producer to know and which one must remember as a precursor the beatmaking, it is well Marley Marl. This pioneer, too a long time under estimated, will be quickly a great inspiration for the producers currently most voted by plebiscite with knowing Dj First or Pete Rock. Didn't DJ First already affirm many times that its formula with success found all its sources in one of the productions of Marley, namely ' Nobody Beats The Biz'? Founder member of Juice Crew, this did not prevent Marley multiplying his collaborations and from revealing an impressive panoply stars current. Everyone wants to meet Marley Marl, its famous within the rap is enormous...

Marlon William, native of Queens, start at the sides of Fly Ty and Mr. Magic by animating a show on radio WBLS. Very quickly it leaves its first prods under the pseudo one Mr. Square and becomes acquainted with Roxanne Shanté. It leaves ' Roxanne Revenge' which catapults it at the top. The career of Marley Marl is then launched and the telephone calls fuse of any share with collaborations with the key. Become influential in rapologic industry, it gives its chance to his fellow traveller MC Shan. The legend wants that the 2 men met whereas Shan tried to steal the car of Marley Marl... In spite of this incident, a real friendship is born between the 2 men and, when MC Shan leaves ' Down By Law ', Marley Marl becomes impossible to circumvent on the scene new-yorkaise.

With the assistance of the label Cold Chillin ', Marley Marl starts then with cutting down its charts and entirely producing the albums of its others protected. It initially makes know with the public Biz Markie (at its beginnings only fourteen years old). This last begins while beat-boxing in the first parts of the concerts of Roxanne for to final integrating Juice Crew and giving him some of its best moments with the album Goin' Off . In the shade of Biz Markie, writing a number of its texts to him, hides King Asiatic Nobody' S Equal better known under the pseudonym of Big Daddy Kane. It is thus logically that BDK and its DJ Mister the EEC which know themselves already well will be the next ones to come to line up within the crew of Juice (nickname of Mr. Magic which will give birth in the name of the group). In 1988, when Long Live The Kane reached the vats of the record dealers, BDK is seen acclaiming like one of best the emcees in activity. Carried by this new leader, Juice Crew is then at the top of the rapologic pyramid and is regarded as the crew dominating. In the tread, Eric Barrier and William Griffin Jr alias Eric B and Rakim will come to ask council Marley Marl. This one then implies in the génèse traditional ' Eric B Is President' and ' My Melody '.

Using the fame of the emission Rap Attack, Mr. Magic and Marley Marl discover a new talent named Masta Ace. Masta Ace gains 6 hours of studio in company of Marley Marl at the end of a contest of rap in Queens. Impressed by the talent of the young person Master Ace, Marlon will produce two titles to him which will be reproduced on the founder In Control Volume 1 thus making emerge Masta Ace. With In Control Volume 1 left in 1988, one can say that Marley Marl puts definitively on the front of the scene the producers by delivering the first true album of producer such as one knows it today. Officializing the use of the samples and packing during its career the techniques of production, he is the producer who definitively makes return the rap in his modern form and gives him its letters of nobility. But, after a few times, Juice Crew in loss speed, is exceeded by the new wave of artists which breaks on Big APPLE...

In the germs of the fall of Juice Crew of course the beef with KRS-One is . In 86, useless to say that the Marlonesque influence on the emcees of the time is terrifying and that everyone wants to adapt its talents. Everyone, until a person answering the blaze of KRS-One , faithful representing of Boogie Down Productions left straight of South Bronx, comes to meet Mr. Magic in the offices of Cold Chillin' Records, already founded at the time, to present a demonstration of him to him and of its group. When Mr. Magic sends it to stroll by saying to him that the level of the BDP is well below that of Juice Crew and that it should give up because it will not make the deal, KRS-One , upset, does not wait a long time to record its title devastator where it takes for target all Juice Crew I named ' The Bridge Is Over ', ironic response to ' The Bridge' of Mc Shan. The beef east felt in all the big APPLE and the BDP thus makes shade in Juice Crew which is found overcome after more than one year of eagerness discographic. If Juice Crew manages to maintain its popularity for a time, the attacks carried by BDP will start its credibility seriously...

However, the projects continue to pile up for Marley Marl and quality remains. With the assistance of Marlon, another legendary duet will thus launch a first album of anthology Road To The Riches once more completely produced by Marley. One speaks obviously here about DJ Polo and Kool G rep. Marley gives then its chance to one of the faithful soldiers of Juice Crew: Craig G Then it makes it possible Masta Ace to take its take-off by producing the integrality of Take A Around Look . Lastly, it allows very mad and volunteer Intelligent Hoodlum (better known today under the patronym of Tragedy Khadafi) to make known itself.

Whereas the adventure of Juice Crew touches at its end, Marley finds the one second youth by giving again colors with another legend of the rap in loss speed: LL Cool J If it already produced for artists external in Juice Crews (Heavy D in particular), its duet with LL will make great noise. Because Mama Said Knock Out is incontestably the best album of LL Cool J and one can say that Marley Marl is there for much because, once again, it produces all the titles of the disc and can give the color hardcore which will give LL in saddle for ten new years.

At the beginning of the Nineties, the failure In Control Volume 2 sign definitively the end of Juice Crew. Little time after, Marley Marl announces that it leaves the label complaining not not to be paid enough for all work that it provides to it. It then starts to produce elsewhere and gives the high-speed motorboat to some groups like Lords Of The Underground, Da Youngsta' S or later Screwball. Making way, it makes known the talented K-Def producer (group Real Live) and binds friendship with Pete Rock. After a long-term lawsuit, it recovers the property of the masters from Cold Chillin' and continuous to give its support for Heavy D, Untouchables, LL Cool J but also for young people rappers of Queens like Noreaga. It meets also stars like Flavor Fav, Terminator X, Slick Rick and Run-DMC without never managing to reach a notoriety identical to their. If, in second half of the Nineties, it put out of night light its activities of producer to concentrate on the radio, Marley Marl returned to us in 2001 with a good Re-Entry on behalf of the label BBE which showed that in spite of the years Marlon Williams remained always active and gifted with the levers.

In final Marley Marl remains underground and, for proof, it continues has to animate its emission on Hot 97 with Pete Rock making still and still to discover emcees of the shade contrary to all the other radios or chains capitalist making to only glorifier the "hip-pop stars". If the hip hop survives, it is precisely thanks to the instigators that are Marley Marl as well as KRS-One and so much of others which will remain forever of true heroes defending truths values of this music while remaining faithful to the underground medium which is, I point out it, authenticates it voice of this culture.

Rikem and Cobalt
April 2003

The winner of this auction is to pay via Paypal only within 24 hours of winning the auction. Any other method of payment must be approved in advance of bidding. Due to the possibillity of copying the material on this unreleased acetate, There will be no returns of this item for any reason.