BK The Great
Veteran
No 3 Quarters is my fav track so far, mad chill and mellow
Jim Jones - Wasted Talent (Discussion Thread)
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BK The Great
Veteran
“shyt, it’s my job. We all got a job.”
Jim Jones is downplaying my flattery-disguised-as-an-interview-question: What’s kept you going in the music business for two solid decades, since your appearance on Cam’ron’s “Me, My Moms & Jimmy” back in 1998?
Upon first hearing Joseph Guillermo Jones II on that track, few rap fans would have pictured that the guy setting up My Two Dads punchlines would become arguably the most relevant and successful member of one of the genre’s most influential crews. Not bad for someone who, by his own admission, initially planned on just “playing the back.”
Jones was introduced to the hip-hop business early—at around age six, actually, when he met his neighbor Dame Dash. And right around that time, the legend of one of Dame’s future Roc-A-Fella co-founders was spreading.
Kareem “Biggs” Burke was known to a young Jones as “one of the bosses” of their Harlem world.
“[Biggs] has always been around Harlem, been around the East Side. Always been a little older than me, been known for hustling, for having some money, for having a weapon,” Jones recalls. Even now, he talks about Biggs’ brother, the late Robert “Bobalob” Burke, in similar awed tones (“He used to be in Harlem with all the cars… Bob had pretty girls and stuff like that. Every drug dealer’s dream.”) In addition, Jones went to school with another one of Biggs’ siblings, Kyambo “Hip Hop” Joshua, who himself would go on to play a key role in the Roc on the A&R side.
At 13, Jones met the person who would go on to shape his musical life: Cameron Giles. Without realizing it, the future Capo had stepped into a milieu that would set the tone of Harlem rap for the next few generations. Jones’ new pal Cam was part of a group of neighborhood kids who used to play basketball and hang out together. They called themselves the BBO Crew (it stood for, among other things, “Bending bytches Over”). One of their members was a kid named Mason Betha, who Jones remembers being an entertainer even as a young teen.
“That's what Mase used to do; a lot of dancing,” Jones says. “He used to have this crybaby dance he used to do, where he looked like a baby crying on the dance floor, shyt like that. Like, ‘Give ’em the baby, give ’em the baby,’ he'd start crying in the middle of the dance floor. Mase has always been an entertainer.”
''CLARK KENT WAS ONE OF THE FIRST PEOPLE TO TELL ME, ‘DON’T LET ANYBODY TRICK YOU OUT OF YOUR POSITION... WE ALL GET BETTER AT WHAT WE DO.’ HE WAS ONE OF THE FIRST PEOPLE TO GIVE ME THAT INSPIRATION.”
Out of that scene came a rap group, Children of the Corn, which was originally comprised of Killa Cam, Murder Mase, Darrell “Digga” Branch, and Cam’s cousin Derek “Bloodshed” Armstead. Fellow Harlemite Lamont “Big L” Coleman would join a little bit down the line. Jones was around the group in their high school days, but wasn’t yet rapping. Bloodshed, who died in a car crash in 1997, was perhaps the hungriest of the bunch, and a teenage Jones loved to hear him rap.
“I remember I used to pay Bloodshed a quarter for him to do freestyles. [I’d] give him $3 before the day was done,” Jim remembers. “God bless his soul. Blood was a special, special person.”
By the mid-1990s, the CoC crew had their first role models. Two Harlem rappers of their generation were starting to make their mark in the music business. Herb McGruff appeared on singer Monifah’s 1996 song “I Miss You (Come Back Home)”alongside rap vet Heavy D. “That put [McGruff] on a different planet in Harlem,” Jones says wistfully. And then there was Big L, who signed to Columbia Records and dropped his debut album in 1995.
L was a part of the CoC family, but in addition got hooked up with the Bronx crew Diggin’ in the Crates. Coleman’s success—and his style—provided inspiration to his fellow Harlemites. Even now, coming up on two decades after L’s tragic murder, Jones remembers that the late rapper “always had the latest leather jackets.”
But even with the success of his peers, Jones wasn’t yet inspired to make music himself. It wasn’t until Bloodshed died in March of 1997 that the idea of rapping became something Jones took seriously. It was then that Mase began showing Jones how to write and record. And even though Jones admits that he was “a little bit terrible” when he first started out, he had some important and early supporters.
“Clark Kent was one of the first people to tell me, ‘Don’t let anybody trick you out of your position. You said some things in your music that wowed me, so practice your craft. We all get better at what we do,’” he says, still proud at the memory. “He was one of the first people to give me that inspiration.”
full article is here
‘They Take You For a Joke, ’Til They Find Out It’s Serious’: How Jim Jones Ended Up on Top
Jim Jones is downplaying my flattery-disguised-as-an-interview-question: What’s kept you going in the music business for two solid decades, since your appearance on Cam’ron’s “Me, My Moms & Jimmy” back in 1998?
Upon first hearing Joseph Guillermo Jones II on that track, few rap fans would have pictured that the guy setting up My Two Dads punchlines would become arguably the most relevant and successful member of one of the genre’s most influential crews. Not bad for someone who, by his own admission, initially planned on just “playing the back.”
Jones was introduced to the hip-hop business early—at around age six, actually, when he met his neighbor Dame Dash. And right around that time, the legend of one of Dame’s future Roc-A-Fella co-founders was spreading.
Kareem “Biggs” Burke was known to a young Jones as “one of the bosses” of their Harlem world.
“[Biggs] has always been around Harlem, been around the East Side. Always been a little older than me, been known for hustling, for having some money, for having a weapon,” Jones recalls. Even now, he talks about Biggs’ brother, the late Robert “Bobalob” Burke, in similar awed tones (“He used to be in Harlem with all the cars… Bob had pretty girls and stuff like that. Every drug dealer’s dream.”) In addition, Jones went to school with another one of Biggs’ siblings, Kyambo “Hip Hop” Joshua, who himself would go on to play a key role in the Roc on the A&R side.
At 13, Jones met the person who would go on to shape his musical life: Cameron Giles. Without realizing it, the future Capo had stepped into a milieu that would set the tone of Harlem rap for the next few generations. Jones’ new pal Cam was part of a group of neighborhood kids who used to play basketball and hang out together. They called themselves the BBO Crew (it stood for, among other things, “Bending bytches Over”). One of their members was a kid named Mason Betha, who Jones remembers being an entertainer even as a young teen.
“That's what Mase used to do; a lot of dancing,” Jones says. “He used to have this crybaby dance he used to do, where he looked like a baby crying on the dance floor, shyt like that. Like, ‘Give ’em the baby, give ’em the baby,’ he'd start crying in the middle of the dance floor. Mase has always been an entertainer.”
''CLARK KENT WAS ONE OF THE FIRST PEOPLE TO TELL ME, ‘DON’T LET ANYBODY TRICK YOU OUT OF YOUR POSITION... WE ALL GET BETTER AT WHAT WE DO.’ HE WAS ONE OF THE FIRST PEOPLE TO GIVE ME THAT INSPIRATION.”
Out of that scene came a rap group, Children of the Corn, which was originally comprised of Killa Cam, Murder Mase, Darrell “Digga” Branch, and Cam’s cousin Derek “Bloodshed” Armstead. Fellow Harlemite Lamont “Big L” Coleman would join a little bit down the line. Jones was around the group in their high school days, but wasn’t yet rapping. Bloodshed, who died in a car crash in 1997, was perhaps the hungriest of the bunch, and a teenage Jones loved to hear him rap.
“I remember I used to pay Bloodshed a quarter for him to do freestyles. [I’d] give him $3 before the day was done,” Jim remembers. “God bless his soul. Blood was a special, special person.”
By the mid-1990s, the CoC crew had their first role models. Two Harlem rappers of their generation were starting to make their mark in the music business. Herb McGruff appeared on singer Monifah’s 1996 song “I Miss You (Come Back Home)”alongside rap vet Heavy D. “That put [McGruff] on a different planet in Harlem,” Jones says wistfully. And then there was Big L, who signed to Columbia Records and dropped his debut album in 1995.
L was a part of the CoC family, but in addition got hooked up with the Bronx crew Diggin’ in the Crates. Coleman’s success—and his style—provided inspiration to his fellow Harlemites. Even now, coming up on two decades after L’s tragic murder, Jones remembers that the late rapper “always had the latest leather jackets.”
But even with the success of his peers, Jones wasn’t yet inspired to make music himself. It wasn’t until Bloodshed died in March of 1997 that the idea of rapping became something Jones took seriously. It was then that Mase began showing Jones how to write and record. And even though Jones admits that he was “a little bit terrible” when he first started out, he had some important and early supporters.
“Clark Kent was one of the first people to tell me, ‘Don’t let anybody trick you out of your position. You said some things in your music that wowed me, so practice your craft. We all get better at what we do,’” he says, still proud at the memory. “He was one of the first people to give me that inspiration.”
full article is here
‘They Take You For a Joke, ’Til They Find Out It’s Serious’: How Jim Jones Ended Up on Top
Nice
Silver Surfer
Veteran
SpotifyWhere....checked Apple Music.....don’t see it
TrifeGod
Chasing The Dragon
On Never Did 3 Quarters this shyt is wavy 
TrifeGod
Chasing The Dragon
Is it me or does Jadakiss sound alil more energetic on Dust & Powder
Maybe it's just me
Maybe it's just me
Playaz Eyez
Veteran
Jones came through. Major props to him for making what I want to hear as a modern NY album. Really nice production throughout, the guest appearances were good for the most part (Trav is ehhh though, and Juelz sounds kinda different as well
I didn't even mind the Lucci spot either. Jada and Cam were cold, and even Ball Greezy and Durk came through). Very minimal trap style songs (I wanna say two at the most, which may be a Jahlil Beats and Southside song). 4/5 for me.
I didn't even mind the Lucci spot either. Jada and Cam were cold, and even Ball Greezy and Durk came through). Very minimal trap style songs (I wanna say two at the most, which may be a Jahlil Beats and Southside song). 4/5 for me.
TrifeGod
Chasing The Dragon
It's Cam turn to stop fukking around and release a good A L B U M
Cheech&Chong
rip chinx
Pass the mustard please
TrifeGod
Chasing The Dragon
I gave grandma rent money
...........................................just for the rent
TALK TO EM TRAV
...........................................just for the rent
TALK TO EM TRAV
Silver Surfer
Veteran
Someone please pass some mustard...
Cheech&Chong
rip chinx
Damn is Jimmy back? He always had the better albums during the dipset days, he doesn't fukk around when it comes to crafting albums. His catalog is serverly under rated. The couple tracks I've heard so far are dope.
I gave grandma rent money
...........................................just for the rent
TALK TO EM TRAV
That shyt hard
G.O.A.T Squad Spokesman
Logic Is Absent Wherever Hate Is Present
To me too.. I got rep.