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J-Live was born and raised in Uptown Manhattan, New York City. After making a home for himself in Brooklyn upon graduating from SUNY at Albany, J relocated to Philadelphia in 2003. "Moving to Philly was more for the family than any kind of career move. But the whole music scene here and the hip hop community here have embraced me with open arms since I arrived. I've gotten a lot of support from so many different artists and dee jays. This city is jam packed with talented and beautiful people." Read Full BioJ-Live was born and raised in Uptown Manhattan, New York City. After making a home for himself in Brooklyn upon graduating from SUNY at Albany, J relocated to Philadelphia in 2003. "Moving to Philly was more for the family than any kind of career move. But the whole music scene here and the hip hop community here have embraced me with open arms since I arrived. I've gotten a lot of support from so many different artists and dee jays. This city is jam packed with talented and beautiful people."
J-Live started his career by releasing solid 12" such as "Longevity", "Braggin' Writes", and "Hush the Crowd", which earned him a spot in The Source's "Unsigned Hype" column.
Recorded mostly at J's own Triple Threat Studios in Philadelphia, The Hear After actually seems to have taken on a life of its own. Guest vocalist on the album, include up and coming artist, Kola Rock, Cvees, and the soulful sounds of Virgin recording artist, Dwele. The album features production by Floyd the Locsmif (Atl), Hezekiah, James Poysner (Philly), Probe DMS, Fire Dept., (NYC), Oddisee (DC), and J-Live himself. "The title is a play on words. People think of the here after as the after life or somewhere you go when you die. Like heaven or hell. Me personally, I see heaven as being at peace with yourself while you're alive. I see hell as the path you choose in life as opposed to a place you go after death. The album is called The Hear After because I'm at peace with myself musically, and I've been through hell to get that way. This is what you "hear after" all that has transpired so far. This is what I've been working to accomplish since the last album."
Like J's last two full length records, The Best Part and All of the Above, The Hear After covers a wide range of thoughts and emotions both musically and with its subject matter. "If you were to look at the whole thing, you would see a story line about an artist trying to maintain and expand his career and still be there for his family. That was the biggest struggle while making the record, and its no coincidence that it's a theme that becomes obvious listening to it. But there are songs about almost every aspect of my life from growing up in the city, to raising kids, touring heavy, building and teaching, politics, party and bullshit. I can't just spit about one thing for a whole record. That's not my style."
J-Live has been rhyming and mixing since the age of 12 but he has made much more of a name for himself as an MC than as a DJ. "I definitely focus on rhyming more. Growing up doing both it was easier on the pockets to be an MC. Records and equipment can get expensive. But I love spinning." One of the highlights of his entertaining live show is when he rhymes and beat juggles on the turntables simultaneously, performing his classic, "Braggin' Writes." J-Live is also known to produce beats.
J-Live has always used music to get his messages across. He explains, "I grew up listening to everything from BDP to NWA, to PE [[artist]Public Enemy], Slick Rick, Big Daddy Kane, Nice and Smooth. Whether the music was pimped out, gangsta, militant or whatever, rappers had something important to say to kids like me. And I listened intently. As a 5%er, I can't imagine how much of an influence hip hop had on the way I see the world."
Case in point, J's favorite song on the album, "Audio Visual" is so descriptive it's a song "in 3-D". From the quirky, key accents to the thick-ass bottom running throughout the song, J-Live paints a colorful, picture of his life on and off the mic. "Brooklyn Public" is his ode to his days as an educator. Earlier in his career, J-Live taught middle school English/Language Arts in Brooklyn for a few years.
Making music for the walkmans as well as the Jeeps, J-Live made a mature, sonically sophisticated album. "I feel like I represent hip hop's middle class. Seems like everybody's either crying broke or screaming rich or both. I try to speak to the people in between. The everyday hard working fun loving hip hop heads."
Year Formed: 1995
Official Site: http://www.j-livemusic.com/
J-Live started his career by releasing solid 12" such as "Longevity", "Braggin' Writes", and "Hush the Crowd", which earned him a spot in The Source's "Unsigned Hype" column.
Recorded mostly at J's own Triple Threat Studios in Philadelphia, The Hear After actually seems to have taken on a life of its own. Guest vocalist on the album, include up and coming artist, Kola Rock, Cvees, and the soulful sounds of Virgin recording artist, Dwele. The album features production by Floyd the Locsmif (Atl), Hezekiah, James Poysner (Philly), Probe DMS, Fire Dept., (NYC), Oddisee (DC), and J-Live himself. "The title is a play on words. People think of the here after as the after life or somewhere you go when you die. Like heaven or hell. Me personally, I see heaven as being at peace with yourself while you're alive. I see hell as the path you choose in life as opposed to a place you go after death. The album is called The Hear After because I'm at peace with myself musically, and I've been through hell to get that way. This is what you "hear after" all that has transpired so far. This is what I've been working to accomplish since the last album."
Like J's last two full length records, The Best Part and All of the Above, The Hear After covers a wide range of thoughts and emotions both musically and with its subject matter. "If you were to look at the whole thing, you would see a story line about an artist trying to maintain and expand his career and still be there for his family. That was the biggest struggle while making the record, and its no coincidence that it's a theme that becomes obvious listening to it. But there are songs about almost every aspect of my life from growing up in the city, to raising kids, touring heavy, building and teaching, politics, party and bullshit. I can't just spit about one thing for a whole record. That's not my style."
J-Live has been rhyming and mixing since the age of 12 but he has made much more of a name for himself as an MC than as a DJ. "I definitely focus on rhyming more. Growing up doing both it was easier on the pockets to be an MC. Records and equipment can get expensive. But I love spinning." One of the highlights of his entertaining live show is when he rhymes and beat juggles on the turntables simultaneously, performing his classic, "Braggin' Writes." J-Live is also known to produce beats.
J-Live has always used music to get his messages across. He explains, "I grew up listening to everything from BDP to NWA, to PE [[artist]Public Enemy], Slick Rick, Big Daddy Kane, Nice and Smooth. Whether the music was pimped out, gangsta, militant or whatever, rappers had something important to say to kids like me. And I listened intently. As a 5%er, I can't imagine how much of an influence hip hop had on the way I see the world."
Case in point, J's favorite song on the album, "Audio Visual" is so descriptive it's a song "in 3-D". From the quirky, key accents to the thick-ass bottom running throughout the song, J-Live paints a colorful, picture of his life on and off the mic. "Brooklyn Public" is his ode to his days as an educator. Earlier in his career, J-Live taught middle school English/Language Arts in Brooklyn for a few years.
Making music for the walkmans as well as the Jeeps, J-Live made a mature, sonically sophisticated album. "I feel like I represent hip hop's middle class. Seems like everybody's either crying broke or screaming rich or both. I try to speak to the people in between. The everyday hard working fun loving hip hop heads."
Year Formed: 1995
Official Site: http://www.j-livemusic.com/
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Them That's Not
by J-Live
Bring it in
Once upon a time there was a brotha named Kastro
Had a little problem with his cash flow
More than once his friend'd tell me he had a dream to clock mad dough
Only at the time it seem that obsurb
Then he saw a light bulb flash up in his forehead
Shine so bright he had to close both eyes
Said whoever hit him for the average poor asshole
'Bout to be hit for they biggest surprise
Now meanwhile, still short on pot to piss in
Not to mention any window to throw it out
Lookin like who don't you want and where it come from
Sippin on chickin wing, smackin on stout
Step to his boys, the label of the month
Like 'yo, what's the half kid, let me get a deal'
Got a dope style, sound just like so and so
What's her name, runnin from ya, even more ill
Make ya want to holler like Marvin, did I mention I'm starvin and quite thirst
Meanin what, meanin that I'm a do whatever it take to make sure they play my shit first
On the Billboard and last on the countdown, like contact on that show
So what's up black, yo, how that sound?
If you down then c'mon let's go
Down to the studio right now, bring me that crate with the old hits
Make that beat with the right style, so that ??? want to go get
In that club with the DJ, he be on the radio all day
I get in cool with him even though he fake-assin toupee
I roll with ballers and thugs to make my image legit
Even though back in the day they told me I was the shit
I'm at the Cinderella ball, now it just don't quit
Eh, Fuck that, I shrink my feet if the shoe don't fit
I make it happen like hormones, you been forewarned
I got you mad now 'cause I'm kickin that popcorn
It blows up in a couple minutes
Expand the pockets so your girl's hand's all in it
I see ya shorty starin at me on the guest line
But these four backstage'll do me just fine
Or five, that's for my jam on the request line
So if you stress me I could tell you through the grapevine
It's like this
(Chorus)
Them that's gots, I get
Them that's not shall lose
But man, you gotta get it while the gettin is good
Now, if you can get it all this much and this fast
Don't be tellin me you wouldn't 'cause I know that you would
Them that's gots, I get
Them that's not shall lose
But god, I gotta get it while the gettin is good
Now, if you can get it all this much and this fast
Don't be tellin me you wouldn't 'cause I know that you would
Yo, I'm number one, but the bullet can't hack it now
The Billboard need a full metal jacket now
You see my face all day 'til it make you sick
I got a hand full of cards, you can take your pick
Now who'd a thought this bullshit song'd have me seen
And every video and every other magazine
With more attention than a jet black drag queen
At a convention with a Grand Dragon Klans meetin
Kids hang on every word I say like a damn fiend
It's too bad it don't stand for a damn thing
They parents say I'm too nasty for they damn team
But I ain't write it so don't ask me what the fuck it mean
I got some other shit to worry 'bout instead
The more money, more problems like the man said
Ain't like my phone is bein tapped by the damn FEDs
But my accountant said I can't get out the damn red
I heard that people gettin tired of my song now
The album drops and now my fans are gettin hostile
I only had one song that got the style right
The guy who wrote it, yo, his album dropped last night
My pockets on Slim Fast and Jenny Craig
The same clubs and restaurants that kept me well fed
Reject my credit like a Muslim do a bore's head
Good thing my boss is my boy so I ain't gotta beg
But now he hollerin at me like 'yo, where the loot went?'
We had to clear the damn sample when the loop went
We comin up type short like an indent
And I just learned a new word called recoupment
I got paid for the video equipment
And every other detail a red cent spent
Oh hell nah, don't talk about no fuckin fine print
Well tell me this, how the hell I'm gonna pay the rent
I got a little landlord so now I tiptoe
In and out the crib to find a way to get dough
Can't make another record 'cause I can't flow
But I could tell you a little story
And that shit go
(talking)
Once upon a, I don't know
Used to be a brother named Kastro
Had a little problem with his cash flow
(Chorus fades in) 3x
Them that's gots, I get
Them that's not shall lose
But God bless the child that could write his own rhyme
Some might choose to pray, some might choose to snooze
But the style that I use is the style that's mine
Them that's gots, I get
Them that's not shall lose
But God bless the child that could write his own rhyme
Some might choose to pray, some might choose to snooze
But the style that I use is the style that's mine
(mixing to fade)
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
by J-Live
Bring it in
Once upon a time there was a brotha named Kastro
Had a little problem with his cash flow
More than once his friend'd tell me he had a dream to clock mad dough
Only at the time it seem that obsurb
Then he saw a light bulb flash up in his forehead
Shine so bright he had to close both eyes
Said whoever hit him for the average poor asshole
'Bout to be hit for they biggest surprise
Now meanwhile, still short on pot to piss in
Not to mention any window to throw it out
Lookin like who don't you want and where it come from
Sippin on chickin wing, smackin on stout
Step to his boys, the label of the month
Like 'yo, what's the half kid, let me get a deal'
Got a dope style, sound just like so and so
What's her name, runnin from ya, even more ill
Make ya want to holler like Marvin, did I mention I'm starvin and quite thirst
Meanin what, meanin that I'm a do whatever it take to make sure they play my shit first
On the Billboard and last on the countdown, like contact on that show
So what's up black, yo, how that sound?
If you down then c'mon let's go
Down to the studio right now, bring me that crate with the old hits
Make that beat with the right style, so that ??? want to go get
In that club with the DJ, he be on the radio all day
I get in cool with him even though he fake-assin toupee
I roll with ballers and thugs to make my image legit
Even though back in the day they told me I was the shit
I'm at the Cinderella ball, now it just don't quit
Eh, Fuck that, I shrink my feet if the shoe don't fit
I make it happen like hormones, you been forewarned
I got you mad now 'cause I'm kickin that popcorn
It blows up in a couple minutes
Expand the pockets so your girl's hand's all in it
I see ya shorty starin at me on the guest line
But these four backstage'll do me just fine
Or five, that's for my jam on the request line
So if you stress me I could tell you through the grapevine
It's like this
(Chorus)
Them that's gots, I get
Them that's not shall lose
But man, you gotta get it while the gettin is good
Now, if you can get it all this much and this fast
Don't be tellin me you wouldn't 'cause I know that you would
Them that's gots, I get
Them that's not shall lose
But god, I gotta get it while the gettin is good
Now, if you can get it all this much and this fast
Don't be tellin me you wouldn't 'cause I know that you would
Yo, I'm number one, but the bullet can't hack it now
The Billboard need a full metal jacket now
You see my face all day 'til it make you sick
I got a hand full of cards, you can take your pick
Now who'd a thought this bullshit song'd have me seen
And every video and every other magazine
With more attention than a jet black drag queen
At a convention with a Grand Dragon Klans meetin
Kids hang on every word I say like a damn fiend
It's too bad it don't stand for a damn thing
They parents say I'm too nasty for they damn team
But I ain't write it so don't ask me what the fuck it mean
I got some other shit to worry 'bout instead
The more money, more problems like the man said
Ain't like my phone is bein tapped by the damn FEDs
But my accountant said I can't get out the damn red
I heard that people gettin tired of my song now
The album drops and now my fans are gettin hostile
I only had one song that got the style right
The guy who wrote it, yo, his album dropped last night
My pockets on Slim Fast and Jenny Craig
The same clubs and restaurants that kept me well fed
Reject my credit like a Muslim do a bore's head
Good thing my boss is my boy so I ain't gotta beg
But now he hollerin at me like 'yo, where the loot went?'
We had to clear the damn sample when the loop went
We comin up type short like an indent
And I just learned a new word called recoupment
I got paid for the video equipment
And every other detail a red cent spent
Oh hell nah, don't talk about no fuckin fine print
Well tell me this, how the hell I'm gonna pay the rent
I got a little landlord so now I tiptoe
In and out the crib to find a way to get dough
Can't make another record 'cause I can't flow
But I could tell you a little story
And that shit go
(talking)
Once upon a, I don't know
Used to be a brother named Kastro
Had a little problem with his cash flow
(Chorus fades in) 3x
Them that's gots, I get
Them that's not shall lose
But God bless the child that could write his own rhyme
Some might choose to pray, some might choose to snooze
But the style that I use is the style that's mine
Them that's gots, I get
Them that's not shall lose
But God bless the child that could write his own rhyme
Some might choose to pray, some might choose to snooze
But the style that I use is the style that's mine
(mixing to fade)
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
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