Them That's Not
J-Live Lyrics
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
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
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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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xele fonte
So many quotables in this song, but the Top 15:
1. "And I just learned a new word called RECOUPMENT." (3:05)
2. "The more money more problems LIKE THE MAN SAID!" (2:30)
3. "I'm at the Cinderella ball, now it just don't quit. And FUCK THAT, I'll shrink my feet if the shoe don't fit." (1:15)
4. "Sippin on chicken wing, snackin' on stout" (0:39)
5. "With more attention than a jet black drag queen, at a convention with a grand dragon klan meeting" (2:13)
6. "My pockets on Slim Fast and Jenny Craig." (2:48)
7. "I roll with ballers and thugs to make my image legit, even though back in the day they told me I wasn't shit." (1:08)
8. "Reject my credit like a Muslim do a boar's head." (2:53)
9. "Now, who'd a thought this bullshit song'd have me seen?" (2:07)
10. "I make it happen like hormones, you been forewarned." (1:17)
11. "We comin up type short like an indent." (3:03)
12. "Kids hang on everything I say like a damn feen, it's too bad, it don't stand for a damn thing. They parents say I'm too nasty for dey damn teens, but I didn't write it so don't ask what the fuck it means." (2:18)
13. "Yo, I'm number one but the bullet can't hack it now, the Billboard need a full metal jacket now." (1:57)
14. "Then he saw a light bulb flash up in his forehead, Shine so bright he had to close both eyes." (0:27)15. "Make ya wanna holla like Marvin, did I mention I'm starving and quite thirst?" (0:45)
Ye
Bring it in
[Verse 1]
Once upon a time there was a brother named Castro
Had a little problem with his cash flow, word
More than once upon a time he had a dream to clock mad dough
Only at the time it all seemed mad absurd
Then he saw a light bulb flash up in his forehead
Shined so bright he had to close both eyes
Said whoever hit 'em for the average poor asshole
'Bout to be hit for they biggest surprise
Now meanwhile, still short one pot to piss in
Not to mention any window to throw it out
Lookin' like who don't you want and where'd it come from
Sippin' on chicken wings, smackin' on stout
Stepped to his boy at the label of the month
Like 'yo, what's the haps kid, lemme get a deal'
Got a dope style, sounds just like so-and-so
Whatsisname, wrote it for me even more ill
Make ya wanna holler like Marvin, did I mention I'm starvin' and quite thirst
Meaning what, meaning that I'ma 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 crowd'll wanna 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 as a toupee
I roll with ballers and thugs to make my image legit
Even though back in the day they told me I wasn't shit (you wasn't fresh)
I'm at the Cinderella ball, now it just don't quit
And 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
That blows up in a couple minutes
Expand the pockets 'til your girl's hand's all in it
I see your shorty starin' at me on the guest line
But these four back stage'll do me just fine
All five ask 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 got, shall get
Them that's not, shall lose
But man, you gotta get it while the getting is good
Now, if you could get it all this much and this fast
Don't be telling me you wouldn't cause I know that you would
Them that's got, shall get
Them that's not, shall lose
But God, I gotta get it while the getting is good
Now, if you could get it all this much and this fast
Don't be telling me you wouldn't cause I know that you would
(*scratching to fade* Run-D.M.C.: If it happened to him, it could happen to you!)
[Verse 2]
Yo, I'm number one, but the bullet can't hack it now (hack it now)
The Billboard need a full metal jacket now (jacket now)
You see my face all day 'til it make you sick (make you sick)
I got a hand full of cards, you can take your pick (take your pick)
Now who'd a thought this bullshit song'd have me seen (have me seen)
In every video and every other magazine (word)
With more attention than a jet black drag queen (drag queen)
At a convention with a Grand Dragon Klansmin (Klansmin?)
Kids hang on every word I say like a damn fiend (damn fiend)
It's too bad it don't stand for a damn thing (no)
They parents say I'm too nasty for they damn teens (what?)
But I ain't write it, so don't ask me what the fuck it mean (yeah)
I got some other shit to worry 'bout instead (instead)
The more money, more problems like the man said (man said)
Ain't like my phone is bein tapped by the damn feds (what?)
But my accountant said I can't get out the damn red (word)
I heard that people getting tired of my song now (song now)
The album drops and now my fans are getting hostile (hostile)
I only had one song that got the style right (style right)
The guy who wrote it, yo, his album dropped last night (platinum!)
My pockets on SlimFast and Jenny Craig (word?)
The same clubs and restaraunts that kept me well fed (gyeah)
Reject my credit like a Muslim do a boar's head (banks)
Good thing my boss is my boy, so I ain't gotta beg (beg)
But now he hollerin' at me like 'yo, where the loot went?' (loot went)
We had to clear the damn sample when the loop went
We coming up type short like a indent
And I just learned a new word called 'recoupment' (recoupment)
I got paid for the video equipment (damn!)
And every other detail a red cent spent (nah)
Oh hell nah, don't talk about no fuckin' fine print (whatyoutalkinbout, man?)
But tell me this, how the hell I'm gonna pay the rent? (yeah, word, man)
I got a live-in landlord so now I tiptoe (tiptoe)
In and out the crib to find a way to get dough (get dough)
Can't make another record cause I can't flow (damn right!)
But I could tell you a little story
And that shit go (how it go? how it go?)
(uhh, I don't know)
There was supposed to be a brother named Castro
Had a little problem with his cash flow
[Chorus fades in] 3x
Them that's gots, shall get
Them that's not, shall lose
But God bless the child that could write his own rhyme
Some might choose to praise, some might choose to snooze
But the style that I use is the style that's mine
Them that's gots, shall get
Them that's not, shall lose
But God bless the child that could write his own rhyme
Some might choose to praise, some might choose to snooze
But the style that I use is the style that's mine
J-Live
(*scratching to fade* Run-D.M.C.: If it happened to him, it could happen to you!)
Marlo Carpenter
that intro and how they trick you with the beat is so genius.
Tyler Page
If you pay attention they way he switches from the chop flow to the vibe style after the beat progression, it gets you nodding the same tempo, because he's half timing a double time tempo, its perfect
JEFFMAN90
Facts this beat sounds fucking dope. I need know how to implement this technique on my beats
Grezzer
@hardcore boom bap WHAT? No way bro you should have hit me up before 🤣 bro i would have happily replied to you, what a small world though and how did you discover my songs bro. I'm safe and well thank you bro for asking and how's your day going? 🙏🏼💯
Grezzer
@hardcore boom bap thank you so much bro it will be on the EP 🏋🏾 heavy Weight Season bro
Grezzer
@hardcore boom bap I have a listen to RA Rugged man and thank you so much bro I really appreciate it fro mthe bottom of my heart. 😊
Carlos Paulino
It's impossible to listen to this and not move.
Rift SilentOrb
whos listening to this in 2020?
wipeoutdog
im a spiritual lyrical miracle individual
naswek
Mmm hmmm. I play this one when I want to introduce people to J-Live.