December 6, 2022

Marley Marl Biography, Age , Interview, songs, movies

Marley Marl Biography

Marley Marl , born by his real names Marlon Williams,is an American Dj,record producer,rapper and record label founder. He became one of the most famous hip hop producer in 2007, hence receiving an award from the Berkeley College of Music for his contribution in musicThe rapper has got accreditation  for influencing great number of hip hop icons examples, RZA, DJ Premier, and Pete Rock.

Marley Marl Age

The American rapper is 56 years old as of 2018. He was born on September 30, 1962 in New York City, New York, United States

Marley Marl Photo

Marley Marl Career

He has accredition with influencing a number of hip hop icons such as RZA, DJ Premier, and Pete Rock. He was also featured on Eric B. & Rakim’s “Paid In Full” from their debut album which was also recorded in his studio. Being a producer, one notable project was LL Cool J’s Mama Said Knock You Out. The American rapper became interested in music, by performing in local talent shows, during the early days of rap music. Marley, caught his big break in 1984, with artist Roxanne Shante’s hit Roxanne’s Revenge. The producer is also well known with responsibilities for starting the musical band Juice Crew alongside DJ Mr. Magic.

Marley Marl Net Worth

The American rapper and producer has an estimated  net worth of $5 million.

Marley Marl Movie

  • Step up 3D 2010
  • Tragedy: The story of Queenbridge.

Marley Marl Songs

  • The Symphony – 1988
  • Droppin’ Science
    In Control, Volume 1 · 1988
  • We Write the Songs
    In Control, Volume 1 · 1988
  • Da Bridge 2001
  • The Bridge
  • Live Motivator
    In Control, Volume 1 · 1988
  • Duck Alert
    In Control, Volume 1 · 1988
  • Marley Marl Scratch
  • Kill a Rapper
    Re-Entry · 2001
  • House of Hits
    Hip Hop Lives · 2007
  • He Cuts So Fresh
  • Wack Itt
    In Control, Volume 1 · 1988
    All Skool
    Hip Hop Lives · 2007
  • Rising to the Top
    Hip Hop Lives · 2007
  • What Ruling Means
    Re-Entry · 2001
  • Check the Mirror
    In Control, Volume II: For Your Steering Pleasure · 1991
  • Made The Change
    Operation Take Back Hip Hop · 2008
  • Foundation Symphony
    Re-Entry · 2001
  • Do U Remember
    Re-Entry · 2001
  • Big Faces
    Re-Entry · 2001
  • The Man Marley Marl
  • Lost Beat
    Re-Entry · 2001
  • America Eats the Young
    In Control, Volume II: For Your Steering Pleasure · 1991
  • Just Funky
    Re-Entry · 2001
  • Teacha’s Back
    Hip Hop Lives · 2007
  • NY, NY
    Re-Entry · 2001
    Girl, I Was Wrong
    In Control, Volume II: For Your Steering Pleasure · 1991
    This Is What It Is
    Hip Hop Lives · 2007
  • Who’s Sicker
    Re-Entry · 2001
    Easy Type S**T
    Re-Entry · 2001
  • Musika
    Hip Hop Lives · 200

Marley Marl Album

  • In Control, Volume 1
  • Hip Hop Lives
  • Re-Entry
    The Queensbridge Sessions
    In Control, Volume II: For Your Steering Pleasure
  • Hip Hop Dictionary
  • Operation Take Back Hip Hop
  • West End Mixtape Sessions
  • In Control Volume II: For Your Steering Pleasure
  • One Eyed Maniac
  • Road to the Riches
  • One Day (At a Time)
    Marley Marl House Of Hits

Marley Marl In Control 1

He was the producer of the album In Control, Volume 1, which was realised in September 20, 1988

Marley Marl The Symphony

He produced the rap song “The Symphony”. In 1988 the single appeared on His Cold Chillin Records

Marley Marl In Control Vol 2

He released the in control vol 2 album in 1991,where by in These new album he showcase a new crop of artists and incorporate some of his more established friends and crew members.

Marley Marl Juice Crew

He was the co-founder of the Juice Crew. these a composition of Hip Hop, made up largely of Queensbridge (New York, US)–based artists, in the mid to late 1980s

Marley Marl Re-Entry

He prduced Re-Entry,  one of his ablums which was released in 2001 on a barely Breaking Even Records.

Marley Marl Video


Marley Marl Interview

Published: September 12, 20131:00 PM ET


FRANNIE KELLEY: We’re talking on the occasion of the 25th anniversary of In Control Vol. 1.

MARL: Wow, it’s been that long? I felt like I just finished. You know, a lot of history’s packed into that one, so we got a lot to talk about. 25 years …

KELLEY: How old were you then?

MARL: I was in my upper 20s around then. It’s when I bought my first house — with that budget right there.

KELLEY: Did you know it was gonna be a hit?

MARL: I had an inkling that it would do well because the momentum that the Juice Crew was building at that time, I just felt that it was going to be a retrospect of the Juice Crew where we was at, at that time.

KELLEY: Where was the Juice Crew at that time?

MARL: Well, the Juice crew was a budding new crew that was coming into the rap scene by ways of Mr. Magic. We had Big Daddy Kane, it’s Kool G Rap, it’s Roxanne Shante, there’s MC Shan, Craig G, Masta Ace and Biz Markie. Collectively, we were called the Juice Crew because everybody had enough talent on their own to break out and do their own individual solo thing.

KELLEY: And what about the photo shoot for In Control Vol. 1?

MARL: Wow, the In Control Vol. 1 photo shoot — that was incredible. My ex-wife — at the time, she had a great idea, I got to give her the credit. I don’t want to take her credit away. She said, “You guys are on the rise. You need to take a photo in front of a Lear jet to make it seem like you’re bigger than life.” Because at that point I have’t seen any rappers in front of Lear jets. And she had the vision. Actually she was the main stylist or editor for Elle magazine at that time and that propelled us into — you don’t even know, we became stars after that photo shoot.

ALI SHAHEED MUHAMMAD: Yeah, applause to your ex-wife, man, that was some vision. Cause it looked like — it felt like you guys were larger than life. I know I wanted to be like Marley Marl. No question.

MARL: Can I tell you something? The day that we took that picture in front of the Lear jet I was still living in the projects. I was paying like $110 a month for my rent, free electricity. So New York City Housing Authority kind of co-produced some of my earlier hits. Thank you guys. It was the crack era, come on now.

KELLEY: And is it true that you went straight from the photo shoot to the studio to make “The Symphony”?

MARL: Yes, we did. We all went. We were like, “Let’s go make a record!” That song — that was a career-launching record. And a career-saving record for some — it could have been.

MUHAMMAD: How did you discover sampling?

MARL: I was into electronica first. I was like a DJ’s DJ. I wasn’t like, just a rap DJ. So I was interning at Unique Studios. Seeing a lot of technology happen, really playing around with Fairlight computers when they was too expensive to touch.

One day I was in the studio, and I was working on a Captain Rock record. And what happened, I was actually trying to get a riff off of a record. I made a mistake and got the snare in there before the sound came. I was truncating the vocal part but the snare was playing with the beat — we was truncating while the beat was playing. Thank God the beat was playing, because it probably wouldn’t have happened if the beat wasn’t playing.

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. I was like, “Yo, hold on.” I started rocking it — and then it just smacked me in the face what just happened. I was like, “Hold up!” This will enable me to take any kick and a snare from any record that people love and make my own beat.

I did a whole snare track all the way through and then I just started playing with the kick next. And it just made me realize. I looked at the engineer — he didn’t know what the hell I was talking about, what had happened. I was like, “Do you know what we just did?! Do you know what just happened?!” He was like, “Yeah, you just took the James Brown snare and you put it on there.” “But do you know what that means?!” He’s like, “Yeah, it means you took the James Brown snare …” I was like, “Yo, it means more than that.! That means that I can go to my library at home — I’ve got so many records! I can take the kicks, the snares from everything and make my own patterns!” He looked at me like I was crazy like, what the hell are you talking about?

MUHAMMAD: That’s amazing, man. I’m being very calm here but — yo, you’re my hip-hop idol and just to hear that story — the blueprint of hip-hop is based off of that story right there. For my generation of hip-hop.

MARL: Of re-hip-hop. Because there was people making records before that. There was a lot of people — the pioneers, I take off my hat to them because those guys really paved the way for something big that was coming that they didn’t even know what was coming. They made a lot of records. They wasn’t the greatest records for rap, because, to be honest, when I was into electronica and I heard the first rap records come out, I was one to believe that rap wasn’t gonna be around.

MUHAMMAD: When you say the first records, what are you referencing? Like Mantronix?

MARL: No, no it was before Mantronix. I’m talking about the earlier pioneers, like the Crash Crew songs, the earlier Sugar Hill songs and a lot of the earlier — like the Fat Boys and a lot of the earlier Kurtis Blow productions were great songs and great hooks. But it wasn’t really touching what made me love rap, and I’m sure it wasn’t touching what made people fall in love with rap.

You know? When you got the rap tapes from Harlem back in the day and the Bronx you would hear scratching, echoes, beat-boxing and just the element of breakbeats. So by the time I brought sampling in — Mr. Magic heard one of the remixes that I made and asked to play it on the radio. Now I become his DJ.

MUHAMMAD: Which remix was that?

MARL: It was a “Buffalo Gals” remix. Sometimes I still play it. That’s the remix that changed my life.

MUHAMMAD: You got that little snare popping off and you feeling good about discovering — you stumbled on that and then who was the first person you felt like you wanted to bring that energy?

MARL: The “Marley Scratch.” That was like, the first big boom bap and samples, drums that changed my production skills — that changed me as a producer. That song did it.

MUHAMMAD: That song for me — I lost my mind when I heard that as a kid. I didn’t know what it was, but I knew it was —

MARL: It was hip-hop.

MUHAMMAD: Yeah, it was the greatest thing ever.

MARL: It was probably what you loved about hip-hop. Everything you loved — it was echoes, scratching.

MUHAMMAD: Yeah, the beat was thick — the beat was so thick. Shan just — his style on there, even spelling your name. It was just all these elements that it just felt like the best thing created ever. So you take that — and it’s interesting because that same sample, you kind of carried in a few records. It’s like as potent as a sperm cell. Can I say that on NPR right now? I mean, from Adam to wherever we end up, that’s what Marley Marl’s drums sound to me. You repeat things, but it’s always fresh and authentic.

MARL: I guess it was just a thing in time. You don’t know you’re making history. You’re just going with your heart, and as long as I can make the people dance outside my window that’s all I cared about.

KELLEY: So part of what you’re talking about is translating the live, performative aspects of hip-hop to a recording.

MARL: Right. And the feeling that those tapes from Harlem back in the days — how they used to make you feel and how they felt. You hear the crowd roaring, you hear the echoes, you hear mistakes, you hear the great parts, you hear everything. You might hear gunshots in the background. But that’s what made a lot of people love hip-hop.

You gotta think: It wasn’t on the radio. There was tapes that people would record right from their box, straight off the microphone, and those tapes would resonate throughout the city. That’s how most of the people who loved hip-hop in the early-’80s, late-’70s — this was our smoke signals, those tapes, those early tapes coming out of Harlem and the Bronx.

MUHAMMAD: What were some of your early musical influences? Cause if you listen to some of the things, like the James Brown, Otis Redding, maybe the Five Stairsteps and stuff like that, it may seem like we have a real insight to your musical tastes, but you also mentioned that you were an electronic producer. So I don’t know if that means Kraftwerk —

MARL: You know who my hero was before I even got into hip-hop? I just gotta lay it on the line: Giorgio Moroder. I was into Giorgio like you would not believe. See, I was into electronic music. I was into triggering bass lines and making it sequence — I was a sequence head. That’s how I beat people in hip-hop early because I was already sequencing. I already knew what a trigger was. I knew how to trigger anything off of anything.

The whole “Bridge” — my song I made with MC Shan — all that was trigger music, triggering samples from a 808 with separate samplers around the room. The pulse from the 808 would go into my sampler and make it react. Once I made that discovery at Unique, guess what I did? I went right around the corner to Sam Ash, bought myself three little cheap samplers. I went home and started experimenting, taking all my drum sounds. Matter of fact, what I would do at that point, I went to my reel-to-reel. I would have leader, snare, leader. Leader, kick, leader. Hi-hat, leader. On the reel.

So I would sit with the artist and say, “So you want to make a song today? Pick out your kick and snare you want.” Now this is before disc; that was my disc. I still have that reel, and that is the same drum reel I lost it in Power Play Studios and they made “The Bridge Is Over.”

MUHAMMAD: I was just going to ask you about that — so is that story true? I didn’t know if it was true.

MARL: Of course that’s a true story.

KELLEY: Tell the whole thing.

MARL: Well, one day I was in Power Play Recording Studios in Long Island City — it’s so funny that I say Long Island City which was like a Queensbridge studio, up the street from Queensbridge and — did you know “The Bridge is Over” was made in Queensbridge? That’s crazy. But anyway — and off my drum sounds. That was the day Mr. Magic met BDP.

For years I was always wondering, “Why these guys are so mad at us? We killing the game right now. C’mon, what are you talking about?” I never understood. “Who are they?” So one day I was looking at KRS-One’s bio and he said, “One day it all started when Mr. Magic dissed us at Power Play.” I was like, “I don’t remember that.” Cause I was with Magic all the time. Then I started remembering: I remember a crew that he dissed because they was nice and waited and said, “Oh Mr. Magic could you listen to our stuff? It’s the hottest stuff, come in the room.” And you know Magic was arrogant so he was like, “Alright, alright I’ll give you a shot. Let me go and listen to your s—.”

So we go in there and they bumping it and everybody’s jumping around like it’s the s— and Magic goes over to the knob and just turns it down while everybody’s dancing. And everybody stops. “Oh you like it?” And he’s like, “Yo, this is garbage.”


MARL: “Straight garbage.” He looked at them and said, “Yo, you want real s—? Marley Marl. MC Shan. Roxanne Shante. Mr. Magic. Y’all suck.” And he just straight walked out the room. I remember that was the day I was trying to get up out of the studio because he made somebody real mad, and getting out of the studio so quick I lost my drum reel. I thought I misplaced it in my crib or something, I didn’t realize I lost it at Power Play. “The Bridge Is Over” came out, and it still didn’t hit me — hearing the record it still didn’t hit that that was my drums.

Later on, an engineer told me — I found my drum reel about six months later, at Power Play, on the manager’s desk. “Yo, Gary, what the f— is this doing here?” He said, “Oh, you left this here. I was gonna give it to you.” It’s like six months later and then one of the engineers told me, “You know Ced-Gee found you drum reel?” I was like, “Yeah.” He said “Yeah, when he made ‘The Bridge Is Over’ he put your drum reel up. I was there, I seen him do it.” I was like, “For real?” Then I went back and listened to the record. I was like, “That’s my kick and snare pitched up one on the SP-1200.”