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Uncompromising American rapper Tracy Marrow, aka , grew up on soul and R&B. Orphaned at age 12 and adopted by his aunt, he was introduced to rock music by his cousin. Last year, Ice’s metal band released their blistering eighth album, complete with an epic to their reworking of ’s .
Growing up in Summit, New Jersey, the very first music I heard was in my house with my father, listening to lots of James Brown and OG funk music. I got into dancing in high school – breaking, locking – but I wasn’t a singer or musician and I didn’t think that life would be for me. Before I had my own songs I used to freestyle over other people’s records at parties.
My first released song was , produced by Jimmy Jam and Terry Lewis, who’d been in ’s band The Time. I was just walking around rapping and, because I had a perm, getting my hair done at a beauty parlour, and this guy walks in and says: “You want to make a record of that.” He took me into his studio, and this is what it turned into.
That was in 1982. It’s between and by Parliament. In high school the scene was funk festivals and Parliament.
They had horns, lots of lead guitar, fantasy – landing a mothership, and Doctor Funkenstein would come out – so it was cool. Music has a lot to do with the drugs of the time and Parliament was angel dust. Jimi Hendrix.
I was listening to earlier. We’re all out there trying to play tight, tight, tight. When I saw Jimi’s live performances he was so unpolished: “I’m gonna go on stage and jam, you motherfuckers keep up with me.
” It’s a whole different style of rock. And being a black person was important. It showed me there would be no limits to music; be whatever colour, if you’re good, people are going to have to respect you.
It’s a group, The Delfonics. I love all that old R&B stuff: The Delfonics, The Stylistics, The Dramatics, three- and four-part harmonies. Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox! I’ll go back to George Clinton from Parliament and Funkadelic.
What I learned from him – and , and Lemmy – is that they’re real people and they never change. They’re gonna be that way until they die. And that’s why they’re my heroes.
That would be Chuck D from He’s one of the most prolific rappers and his words are so important to me. There’s also Rakim, who has some of the most quotable lines like ‘ .’ [Laughs] We tested records on the road that didn’t make it, but you ain’t heard the worst cos we didn’t put it out! I did some goofy shit, like a song for the movie , that was whack.
But something you might hate might be someone’s favourite shit. New Radicals, [starts singing]. I like it when he sings high.
Good music is good music and this puts a smile on my face. With Body Count we meet new bands all the time on the road. My producer Will Putney has a band called Better Lovers, and I also like Fit For An Autopsy.
Ilisten to hardcore shit, but none of it is similar to what we do. I’m open to collaborations as well; I didn’t know Alpha Wolf until they came to me. I liked the song [ ], and thought: “Yeah, I’ll fuck with them, they’re cool.
” I liked working with Lionheart, too. I had and on in the car on the way here. I love [sings the chorus].
Some of the words in old songs, nowadays people would get pissed, but Bowie could get a pass, I suppose. I’d like to flip it, make it mine, but I don’t think I can, or should. Anything by Keith Sweat.
This’ll get someone pregnant. Don’t put Public Enemy album on when you’re trying to make out with a chick. Nothing.
I haven’t cried since my dog Spartacus passed away, five, six years ago. I didn’t even know I had tear glands, I hadn’t cried in so long. Being an orphan and growing up on my own, I learned to delete those emotions because it didn’t matter.
I had to learn to suck it up. I really don’t know, but I asked to be buried face down so the world can kiss my ass. I hate funerals, I just want to be cremated and disappear.
[Bowie’s is suggested] ‘ ’ I don’t mind that. Jo is a journalist, podcaster, event host and music industry lecturer with 23 years in music magazines since joining as office manager in 1999. But before that Jo had 10 years as a London-based gig promoter and DJ, also working in various vintage record shops and for the UK arm of the Sub Pop label as a warehouse and press assistant.
Jo's had tea with Robert Fripp, touched Ian Anderson's favourite flute (!), asked Suzi Quatro what one wears under a leather catsuit, and invented several ridiculous editorial ideas such as the regular celebrity cooking column for , Supper's Ready. After being Deputy Editor for for five years and Managing Editor of for three, Jo is now Associate Editor of , where she's been since its inception in 2009, and a regular contributor to . She continues to spread the experimental and psychedelic music-based word amid unsuspecting students at BIMM Institute London, hoping to inspire the next gen of rock, metal, prog and indie creators and appreciators.
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