REVIEW: Marley Marl – Re Entry

Re Entry

Artist: Marley Marl

Album: Re Entry

Label: BBE

Rating: 8 / 10

Reviewer: P The Uptownkid

It’s been a little while since Marley has dropped an album under his name, but if you remember the days of “In Control, Vol. 1” to “In Control. Vol. 2”, to the whole essense of the Juice Crew allstars, to the likes of LL Cool J, Lords Of The Underground, Screwball, etc, etc, etc (the list goes on for pages) you’d know of the man, the myth, the legend. Well, if you take all of those artists, all his production efforts, with all of those beats, scratches and lyrics and mix them up in a pot, you get the end result which can be the equivalent of “Re Entry”.

With “Re Entry” (on BBE records), you get the true essence of Marley Marl, as well as the new essence of Marley Marl and his talent, behind the production, which can only be seen as him taking all he’s done in the past 17 yrs, updating his techniques and taking it to the next level/tier. If one is familiar with other recent BBE releases (Pete Rock’s “Petestrumentals” and Jay Dee’s “Welcome 2 Detroit”), then you can appreciate why these TOP producers are going over to England to lay down these tracks/albums and show the masses, from a world-wide prospective, that there’s more to beats and more to Hip-Hop than an iced-out, platinum-filled materialistic image. There’s a combination, as recorded on this album and experienced by the listeners, of taking it back to the true essence of Hip-Hop/Rap Music with real beats, stimilating lyrical fluctuation, and on various tracks the element of non-typical rap music but collaborations with Jazz / R&B artists on Jazz / R&B tracks.

A verbal countdown is happening on this track, plus a dirty, grimey beat with Marley Marl talking over the track, interview-style about the whole concept of the “Beat Generation” of BBE Records.

Can U Remember
A melodic, piano-filled 1 minute 16 second track with sample snippets of various early juice crew members with Marley scratching in the background. A nostalgic journey through Marley’s House of Hits…

Three’s Company (Menage A Trois)
A classic collaboration of old with veteran, Big Daddy Kane as he meet up with Marley again on a DJ Premier -esqe track. Kane rips the track, semi-humbly, as Marley scratches Method Man’s voice – “Menois e trios” during the break. A long awaited collaboration.

Spazz (Feat. Kyron Of Screwball)
A ‘Children’s Story’, a la Slick Rick, vibe track (that type of vibe). Solo of Screwball is on this track with a jazzy, feel-nice, tempo which should be listened to at high volume, but beware the lyrics are harsh talking about hoes, bitches, smoking blunts and hittin’ skins.

Just Funky
One of the few instrumental tracks of the album with a typical touch of Marley Marl. This pro-DJ track should be liked by the beat junkies out there and the DJ’s with a sample from Uncle L (LL COOL J) “You know it’s Funky, Funky, Funky” from ‘Boomin’ System’and also Biz Markie’s scream of “Funky” from the intro of ‘Just Rhymin With The Biz’. A definite head-noddin’ beat. Dope track to spit some lyrics off of with an acoustic guitar riff in the background.

Who’s Sicker
Average track with an average rap. But, everyone’s trying to rap hardcore, with hardcore lyrics, now. “Who’s sicker than my n*gga?” is the chorus.

Lost Beat
Another Instrumental track with a DJ Muggs or Alchemist feel to it. One of those dark, gothic-type tracks with synthesized background and mellow beat.

Easy Type Shit
This track is similar to the ‘Three’s Company’ track on this album, with a jazzy vibe similar to a Slum Village joint. Seven Shawn sounds like a Q-Tip-styled spitter with a voice that sounds like O.C. A track to listen to on a sunny spring/fall day while you’re in your whip, chillin’.

Live Ova Beats
Breakbeat fanatics should love this joint. Straight up old School, “Superfly” type beat with a combination of instruments like the piano, bass guitar, drums, etc….stinkin’ nice beat.

Foundation Symphony (Feat. Larry O, Seven Shawn, J. Wells, Miss Man)
This track reminds me of ‘Still #1’ by Boogie Down Productions. Basically made as an updated ‘The Symphony’ with a mix of young rappers reppin’ from Queens. Marley hasn’t lost his touch with creating good posse cuts as he has a sample, in the break, of Mobb Deep’s Prodigy “the realness, the foundation”. Nice cut.

So Good (Feat. J. Wells & Edwin Birdsong)
This sounds like an Al Green track with an Erick Sermon type of beat. J. Wells raps like he’s kickin’ it to girl, breakin the chemistry down like he’s trying to mack you, as the listener.

Hummin’ (feat. Roy Ayers & Edwin Birdsong)
A nice R&B, Jazzy-type track featuring Roy Ayers singing and playing the vibes. A nice, live, instrumental-backed track to nod your head to, broadening horizons from just Hip-Hop to the Jazz genre… like ?estlove from the Roots.

Big Faces
Instrumental track which make you feel like you’re space traveling. A Slum Village/Jay Dee-type track.

What Rulin’ Means (Feat. Kevin Brown & Grap Luva)
The best track on the album! A Pete Rock-style beat which , actually, sounds like an INI track since Grap Luva is on it. A classic within itself with nice scratches by Marley.

What U Hold Down (Feat. T.Slugs & Capone From CNN)
Ghetto track with a melodic sound and tempo. T Sluggs sounds a little like B-Real from Cypress Hill.

New York, New York
The last and final track of the album, which happens to be an instrumental. A piano-laced track with a moderate tempo. Nice track to listen to while riding up the Harlem River Drive.

Hopefully releases like “Re Entry” will inspire other producers in the Hip-Hop community to think “outside of the box” and outside of current production trends / repetitiveness and see the other dimensions of making music for us by us (appreciated by all), and perhaps achieve the longevity in the industry as Marley Marl has done.

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