An AKAI MPC2000 sampler

Akai MPCs (originally MIDI Production Center, now Music Production Center) are a popular series of electronic musical instruments originally designed by Roger Linn and produced by the Japanese company Akai from 1988 onward. Intended to function as a powerful kind of drum machine, the MPCs drew on design ideas from machines such as the Sequential Circuits Inc. Studio 440 and the Linn's own Linn 9000, combining a powerful MIDI sequencer with the ability to sample one's own sounds. Later models feature increasingly powerful sampling, storage, interfacing and sound manipulation facilities, which broaden the use of instrument beyond just drum and rhythm tracks.

History[link]

The original MPC60 was a first result of alliance between Roger Linn and Akai to design products similar to those of Linn Electronics.^[1] He developed the functional design, including the panel layout and software/hardware specifications. He then created the software with a team of engineers. The hardware electronics were designed by English engineer David Cockerell and his team.^[2] Cockerell was a founding member of the synthesizer firm EMS (co-creator of their famous VCS 3 along with Peter Zinovieff,^[3]), and then worked for effects manufacturers Electro-Harmonix.

Shortly after the MPC60's release, the MPC60-II was designed. Released in 1991, the MPC60-II offered most of the same features as the MPC60, with an added headphone output and a plastic housing replacing the original metal one.^[4] In 1994, Akai released the MPC3000, which boasted 16-bit, 44 kHz sampling, 32-voice polyphony, and SCSI data transfer.^[5] Akai developed and released the MPC2000 without Linn in 1997.^[2] Akai tried to save money by dropping Roger Linn, the brainchild behind the MPC, to whom they would have to pay royalties on future models.^[2] The MPC2000 came with 2 MB of RAM, an optional effects board, and a 100,000 note 64-track sequencer.^[6] The MPC2000 was replaced by the MPC2000XL in 2000. The MPC2000XL added an improved 300,000 note sequencer, a 64-track mixer and time-stretch and resample features. Four limited edition models of the MPC2000XL were released.^[6]

In 2002 Akai unveiled the MPC4000, the most powerful MPC ever made (higher bitrate and resolution than the later 5000). The MPC4000 featured 8 assignable outputs, a hard drive and CD-ROM drive. The MPC4000's memory could be expanded to up to 512 MB of RAM, the largest amount on an MPC to date.^[7] Only two years after the release of the MPC4000, Akai released the MPC1000, which was the smallest in the MPC product line at the time of its release. It was also the first MPC to utilize CompactFlash memory.^[8] Both the MPC2500 and the MPC500 were added to the Akai MPC series in 2006. The MPC2500 is a mid-range MPC with 8 assignable outputs and CompactFlash storage.^[9] Designed for portability, the MPC500 features 1 MIDI In/Out and CompactFlash storage, and can be powered by 6 AA batteries.^[10]

At NAMM in 2012 Akai unveiled a line of controllers named the MPC Renaissance, and MPC Studio which work with MPC Renaissance software on Mac or Windows computers. Additionally they unveiled the MPCFly, an iPad2 controller which runs on the iPad MPCFly app, available from the Apple app store. The decision to release software and iPad controllers with weak specs alienated many producers who had previously been hardcore followers of the MPC line. ^[11]

MPC Models[link]

The following MPC models are arranged in the order of their release date:

MPC60[link]

Akai MPC60 (1988)

The MPC60 is a 16 voice polyphonic 12-bit 40 kHz sampler / 99 track sequencer designed in large part by Roger Linn after Linn Electronics closed. It was similar to the Linn 9000. Akai released it in 1988. It had 750 kB memory standard, expandable to 1.5 MB. The sequencer is very flexible and powerful, famous both for its "swing" setting, and its easy to use step programming. It had 2 MIDI inputs / 4 MIDI outputs, allowing it to control up to 64 devices. The sequencer itself was offered as a separate product, known as the ASQ10, also released in 1988. The MPC60-II was nearly identical to the MPC60, but it featured a headphone output, and a plastic case, instead of the metal case of the original. It was released in 1991.

Features^[4]

• 16 velocity sensitive pads
• 2 pad banks (64 voices per program)
• sampling rate of 40 kHz (freq response 20 Hz - 18 kHz)
• 16-bit ADC and DAC, with data stored in special non-linear 12bit format (for lower noise)
• 750 kB sampling memory (13.1 seconds), upgradable to 1.5 MB (26.2 seconds) (expansion card: EXM003)
• 128 sounds in memory, 64 sounds per program, 16 voice polyphony.
• 2 MIDI inputs, 4 MIDI outputs
• 20 songs, 99 sequences, 99 tracks, 60,000 note capacity
• timing resolution of 96ppq (parts per quarter note)
• syncable via MIDI Time Code (MTC), MIDI Clock, FSK24, SMPTE, 1/4 note click.
• SMPTE supported frame rates: 24, 25, 29.97 drop, and 30.
• 8 assignable outputs + 1 stereo + 1 effects send/return
• Internal 3½" floppy drive (Double Density 720 kB)
• optional 3rd=party SCSI interface (by Marion Systems)^[12]

MPC3000[link]

Akai MPC3000

The MPC3000 improved upon the MPC60 by adding 16-bit 44.1 kHz stereo sampling, increased memory, 32 voice polyphony, effects, filters, and SCSI. It was released by Akai in 1994. The MPC3000LE (Limited Edition) is identical to the MPC3000, except for its black custom design. It was released by Akai in 2000 and limited to 2000 units.^[5]

Features^[5]

• 16 velocity sensitive pads
• 4 pad banks (64 voices per program)
• sampling rate of 16-bit 44.1 kHz stereo (freq. response 20 Hz - 22.1 kHz)
• 2 MB sampling memory (22 seconds), upgradable to 32 MB (officially stated as 16 MB) (6 minutes)
• SPDIF stereo input
• 32 voice polyphony.
• 2 MIDI inputs, 4 MIDI outputs
• 20 songs, 99 sequences, 99 tracks, 75,000 note capacity
• timing resolution of 96ppq (pulses per quarter note)
• syncable via MIDI Time Code, MIDI Clock, FSK24, SMPTE, 1/4 note click.
• SMPTE supported frame rates: 24, 25, 29.97 drop, and 30.
• 8 assignable outputs + 1 stereo + 1 effects send/return
• Internal 3½" floppy drive
• SCSI

MPC2000[link]

Akai MPC2000

The MPC2000 is a 64-track sampler/sequencer introduced in 1997 and discontinued in 2000. It comes with 2 MB sample memory as standard, and can be expanded to 32 MB. It supports a sampling rate of 44.1 kHz, in 16 bit stereo or mono.

Features^[6]

• 16 velocity sensitive pads
• Internal 3½" floppy drive
• 1 single button to access 4 pad banks
• 2 MIDI inputs, 2 MIDI outputs
• 100,000 note capacity 64-track sequencer
• 2 MB sampling memory (upgradable to 32 MB)
• Optional effects board (EB16)
• Optional 8 outputs and digital I/O board (IB-M208)
• SCSI interface

MPC2000XL[link]

Akai MPC2000XL

Akai MPC2000XL SE 2

The MPC2000XL is similar to the MPC2000 but with many newer features; including four independent pad-bank keys, number of samples stored doubled to 256 on the XL, altering sounds to a different bit depth or sampling rate could be accomplished by resampling, time stretch was added along with other features. In 2004 the 2000XL-MCD version was released, which features a CompactFlash card reader as standard in place of the floppy drive or Zip drives used in earlier models.^[13] There were 4 limited edition 2000XL SE MPCs created between 2000 and 2003. There were two versions of the SE 1, one with an improved control surface, compatible with growing number of sound libraries and one with aesthetic changes. The Limited Edition SE 2 and SE 3 also had only aesthetic changes.^[14]

Features^[6]

• Multi-Voltage operation (100-240VAC, 50/60 Hz, 13W (23W w/ options))
• Velocity sensitive pads with chromatic assignment for key groups
• Internal 3½" floppy drive or 100MB Zip drive (upgradeable to a Zip 250MB) or MCD card reader (5 in 1 type) with folder support for storage
• 4 independent Pad-Bank keys
• Adjustable angle screen
• Time stretch with 18 presets
• 2 MIDI inputs, 2 MIDI outputs
• Note-repeat key
• 300,000 note capacity 64-track sequencer
• 2 MB sampling memory (upgradable to 32 MB @ 3 min stereo/6 min mono)
• High Density 50 pin (HD50/HPDB50/SCSI 2) SCSI interface
• AKAI MPC2000XL sample CD-ROM
• Optional effects board (#EB16)
• Optional 8 outputs and digital I/O board (#IB-M208)

MPC4000[link]

Akai MPC4000 with Zombie Nation

Released in 2002, the MPC4000 was intended by Akai as a "top-of-the-range" flagship product. Not only was it the most fully featured MPC product yet (building on the MPC60, 3000 and 2000XL), but it also incorporated the sampling engine from the latest model in Akai standalone sampler range, the Z8. The MPC4000 was replaced by the MPC5000 in spring 2008.

Features^[7]

• 16 velocity and pressure sensitive pads
• 2 MIDI inputs, 4 MIDI outputs
• 96 kHz 24bit sampling
• 16 MB sampling memory, upgradeable to 512 MB
• IDE bays for installation of internal hard disk drive and CD-ROM drive.
• Optional plug-in boards: Effects board, ADAT board, S/P-DIF & wordclock board, 8 analogue outputs board
• SCSI interface

MPC2500[link]

Akai MPC2500 sliders

The MPC2500 is the mid-range of the Akai line of MPCs. It has a 100,000 note, 64 track mixer with 64 assignable MIDI channels. It has 16 MB of RAM standard and can be upgraded up to 128 MB of RAM with the AKAI EXM128 stick of RAM. It contains a USB port for computer connectivity. It contains a CompactFlash slot for storage of samples, and can be upgraded with a variety of hard drives. The MPC2500 contains 2 MIDI inputs and 4 MIDI outputs. The MP2500 also has the Chop Shop feature, which can chop a sample into as many as 64 pieces. A CD-R/DVD drive can be added for burning and reading capabilities. Also comes with a 128 MB compact flash card with sound kits. MPC2500 was discontinued in 2009.

Features^[9]

• USB port (Mass Storage Class)
• CompactFlash card reader
• 16 velocity sensitive pads
• 2 MIDI inputs, 4 MIDI outputs
• 100,000 note, 64-track, MIDI sequencer
• 16 MB sampling memory (upgradeable to 128 MB)
• standard effects include: Chorus, Flanger, Bit grunger, 4 band EQ, Compressor, Phase shifter, Tremolo, Flying Pan, Reverb, and Delay.
• 8 assignable outputs and 1 stereo output.
• two assignable Q-link sliders and knobs.
• 240 x 64 hinged backlight LCD screen.
• CD-R/DVD drive CD-M25 (optional)
• JJOS compatible^[15]

MPC1000[link]

Akai MPC1000

The MPC1000 is a 64-track sampler/sequencer. It comes with 16 MB sample memory as standard, and can be expanded to 128 MB. It supports a sampling rate of 44.1 kHz, in stereo or mono. Its features include a USB port, an internal CompactFlash card reader, two MIDI inputs and outputs, and effects and multiple analog outputs as standard. Its sequencer's resolution is 96 ppq.

There have been many reported problems with the pad sensors in the 1000. In the original MPC1000 sensors, a thin square of carbon-impregnated rubber is glued at each corner above a copper coil. When a pad is depressed, this carbon-impregnated rubber is compressed against the copper coil, allowing current to pass through. This moving part can wear out, as the carbon-impregnated rubber sloughs away from the glue and eventually breaks loose.

In 2007, Akai offered a fix for this issue, retailing at 180 USD. The pad sensors design returned to the design of the pad sensors in previous models. This upgrade has been seen to be pre-installed on the MPC1000BK-N and some versions of the MPC1000BK, not the MPC1000 (blue outer casing). Before this change, a MPC1000 user designed, built and sold kits of a pad fix under the name "Nym." Nym's kit is no longer available. By comparison, the more recent Akai pad fix uses better sensor technology (Sensitronic FSRs).^[16]

Features^[8]

• USB port (Mass Storage Class)
• CompactFlash card reader
• 16 velocity sensitive pads
• 4 pad bank keys
• 2 MIDI inputs, 2 MIDI outputs
• 100,000 note capacity 64-track sequencer
• 16 MB sampling memory (upgradeable to 128 MB)
• Effects as standard
• Multiple analog outputs as standard
• Time stretch and pitch shift (added in OS 2.0)
• JJOS compatible^[17]

MPC500[link]

Akai MPC500 and others

The MPC500 is the smallest MPC ever made and is the first truly portable MPC created. It can be run on 6 AA batteries but also can be run on a 12V DC plug. It combines a 48-track MIDI sequencer and a 32-voice stereo digital sampler. The MPC500 is the first MPC that only has 12 velocity sensitive rubber pads. It comes with 16 MB RAM but can be upgraded up to 128 MB of RAM. It has a CompactFlash slot for storage of samples. One major appeal of the MPC500 is the fact that you can take a project created on the MPC500 and transfer it to any current MPC with a CompactFlash reader. The MPC500 has a USB port for computer connectivity. It has one stereo output, making it the only MPC currently in production that does not have assignable outputs.

Features

• USB port (Mass Storage Class)
• CompactFlash card reader
• 12 velocity sensitive rubber pads
• Stereo L+R in & out
• 1 MIDI in and 1 MIDI out
• 4 pad banks
• 2 x 16 character LCD screen with back light
• Standard effects include: Chorus, Flanger, Bit grunger, 4 band EQ, Compressor, Phase shifter, Tremolo, Flying pan, Reverb, and Delay.
• Approximately 4.5 hours of continuous use with LCD backlight on.
• 465.5 sq CM footprint.^[10]

MPC5000[link]

Akai MPC5000

With a listed MSRP of $3,500, the MPC5000 was launched at the 2008 winter NAMM trade show. Its main innovations were an 8-track streaming hard disk recorder, a 20-voice, 3-oscillator virtual analog synthesizer with arpeggiator, a new sequencing engine with 960 ppq resolution, pad and track muting and mixing, 64 continuous sample tracks. It also has a new effect (FX) engine with 4 FX buses where 2 FX are available per bus, and is considered by Akai to be its flagship MPC.^[18]

In addition, the MPC5000 features a 64-voice drum/phrase sampler with 64MB memory, expandable up to 192MB. The display is 240x128, twice the size of the MPC2500 and MPC1000. Integrated Chop Shop 2.0 now supports stereo chops and Patched Phrases. It is also the first MPC to include Random and Cycle sample playback in addition to velocity Zone Play. As on the MPC4000, a turntable preamp is also included.

The MPC5000 lacks some of the sample editing capabilities of the older MPC4000, and also some of the hardware specs are lower than the MPC4000 (max. 192 MB RAM vs. the 4000's 512 MB, and slightly smaller screen), but with an updated and more stable operating system.^[18] OS 2.0 added many new features including Keygroup's, the ability to load a entire folder without MPC programs, and many navigation shortcuts to boast. The MPC5000 using OS 2.0 now has the most features of any previous MPC to date, just above the MPC4000.

MPC Studio[link]

The MPC Studio is a controller for OSX and Windows computers.

MPC Renaissance[link]

The MPC Renaissance is a controller for Mac and Windows computers.

MPC Fly[link]

The MPC Fly is a controller for Apple iPad2 tablet computers.

Comparison[link]

The following table offers a side-by-side comparison of a variety of statistics across the MPC product-line. The specs for the MPC1000 and 2500 refer to the original AKAI operating system, unless mentioned otherwise.

See also[link]

• Akai
• Drum Machine
• Groovebox

External links[link]

• AkaiPro.com official site
• Roger Linn Design — original designer of Akai MPC series (MPC60/MPC60-II/ASQ10/MPC3000)

Notes[link]

Marley Marl
Background information
Birth name	Marlon Williams
Born	(1962-09-30) September 30, 1962 (age 49) New York City, New York, United States
Origin	Queensbridge, Queens, New York, U.S.
Genres	Hip hop
Occupations	CEO, DJ, record producer, rapper
Years active	1983–present
Labels	Cold Chillin'/Warner Bros.
Associated acts	Juice Crew, Kool G. Rap, Rakim, King Tee, LL Cool J, KRS-One, Masta Ace

Marlon Williams (born September 30, 1962), better known as Marley Marl, is an American DJ and record producer, who is considered one of the most important and influential hip-hop producers in the history of hip hop.

Biography[link]

In Hip-Hop's Golden Age, Marley Marl was the house producer of the Juice Crew, known for The Bridge Wars, a feud with Boogie Down Productions seen as one of the earliest and most influential hip hop beefs. The Juice Crew included Big Daddy Kane, Biz Markie, Roxanne Shanté, Kool G Rap & DJ Polo, Craig G, MC Shan and Masta Ace, and produced many songs for outside artists including King Tee, LL Cool J, and Lords of the Underground. He was also an important figure in the careers of Eric B. & Rakim, producing their first hits "My Melody" and "Eric B Is President".

Marl was the first to sample a breakbeat and reprogram it, which he did with The Honey Drippers' "Impeach the President" breakbeat on the MC Shan single "The Bridge" from 1985. This was an extremely important feat as it completely changed the way hip hop beats were made, as well as other sample based genres. In his early records, Marl mixed James Brown samples and synthetic beats in a fashion previously unheard of, for the most part.

Marl started his career working for Tuff City Records. He debuted as an electro producer and began with hip-hop hits like electronic based "The God-Father" by Spoonie Gee making his debut with his unique sampling techniques. He was also affiliated with Andre Harrell's Uptown Records as he was featured on the label posse cut "Uptown is Kickin' it" as well as producing for Uptown Artist and friend Heavy-D and the Boyz The next year, Marl also recorded a diss response to "Roxanne Roxanne" by UTFO, with female emcee Roxanne Shanté. In 1985 released his first track, "DJ's Cuttin" under the pseudonym "NYC Cutter". Soon however, Marl's records became more sample heavy, as can be seen by comparing the MC Shan LPs Down By Law (1987) and Born to be Wild (1988); the rhythms less electronic, with drum samples and patterns becoming more prominent.

One of hip-hop's first superproducers, Marley Marl was an early innovator in the art of sampling, developing new techniques that resulted in some of the sharpest beats and hooks in rap's Golden Age. His trademark raw sound became from triggering short samples loaded in 3 Korg SDD-2000 sampling-delay units through the trigger out of the Roland TR-808. As the founder of Cold Chillin' Records, Marl assembled a roster filled with some of the most prominent hip hop talent then working in New York: MC Shan, Big Daddy Kane, Biz Markie, Roxanne Shanté, Craig G, Kool G Rap & DJ Polo, and Masta Ace. His production work for those and many other artists generally boasted a bright, booming, and robust sound that—along with his ear for a catchy sample—helped move street-level hip-hop's sonic blueprint into more accessible territory. Most important, though, were his skills as a beatmaker; Marl was among the first to mine James Brown records for grooves and also learned how to craft his own drum loops through sampling, which decreased hip-hop's reliance on tinny-sounding drum machines and gave his '80s productions a fresh, modern flavor.

The end of the '80s is often referred to as hip-hop's Golden Era, a time when the form's creativity was expanding by leaps and bounds. Marl's Juice Crew was an important force in ushering in this era thanks to its advances in lyrical technique and the distinctive personalities of emerging stars like Biz Markie and Big Daddy Kane. With business at Cold Chillin' booming, Marl put out the first full-length release under his own name in 1988 (he'd previously recorded the single "DJ Cuttin'" in 1985 with the alias NYC Cutter). In Control, Vol. 1 was mostly a showcase for various Juice Crew affiliates to strut their stuff, notably on the larger-than-life posse cut "The Symphony." Marl scored his greatest crossover success in 1990 by helming LL Cool J's Mama Said Knock You Out; bolstered by Marl's state-of-the-art production, the album restored LL's street cred while becoming his biggest seller ever, making Marl an in-demand remixer. 1991 brought the release of In Control, Vol. 2, which unfortunately displayed signs that the Cold Chillin' talent pool was being depleted.

After working with TLC on their 1992 debut, Marl remained mostly quiet for a few years; 1995 brought the release of House of Hits, a retrospective of his best productions over the years. Splitting off from Cold Chillin', Marl spent several years in a legal battle over money and ownership rights that, in 1998, finally resulted in his being awarded control of all the songs he'd produced for the label. In the '90s, Marl's status as a high-profile producer was restored thanks to his work with artists like Rakim, Lords Of The Underground, Queensbridge's own Capone-N-Noreaga, Da Youngtas and Fat Joe. In 2001, Marl put together another compilation of original productions with guest rappers for the British BBE label, titled Re-Entry.^[1] In 1994, Marley Marl was referenced on Biggie Smalls' track "Juicy" as being one of his early influences.

In September 2007, Marley Marl received an award from the Berklee College of Music for his contribution to music. Marley Marl has also been a legend as a radio deejay along side Mr. Magic in the 80's on a show called Rap Attack on WBLS New York. Marley took the torch to start his own radio show called Private Radio, later with Pete Rock and K-Def. The radio show was called Future Flavas that was an online station and radio show that bounced around from New York radio stations like Hot 97, Power 105.1. Now Marley is currently back where it all started, WBLS, with his radio show called Golden Era Radio. Marley is still touring the world deejaying, playing his brand of funk for fans of Golden Era hip hop. He is also in the works of producing a film called The Vapors. The film will be based on Marl and the Juice Crew in the late 80's the golden era of Hip Hop.

He and KRS-One released Hip-Hop Lives in May 2007 with Marley Marl as the executive producer.^[1]

On June 5, 2007, Marley Marl suffered a heart attack. He was released from the hospital a few days later on the 8th. According to an interview in The Source, he blamed the heart attack on stress brought on by his worries about being a good father.

In 2008, Craig G and he released a collaborative album titled Operation: Take Back Hip-Hop.^[1]

Marl's music has had influences on RZA, DJ Premier, as well as Pete Rock, who is also a longtime friend.^[1] Marley Marl is also a legendary DJ member of the worldwide DJ organization, The Core DJ's.

Discography[link]

Marley Marl's production discography

Albums[link]

• In Control, Volume 1 (1988)
• In Control, Volume 2: For Your Steering Pleasure (1991)
• Hip Hop Dictionary (2000)
• Re-entry (2001)
• Hip-Hop Lives (2007) (with KRS-One)
• Operation: Take Back Hip-Hop (2008) (with Craig G)

Compilations[link]

• House of Hits (1995)
• Best of Cold Chillin' (2001)
• Marley Marl's House of Hits (released 2007)
• Hip Hop's Hero w/ Nikal Fieldz (released 2010)

References[link]

External links[link]

• Marley Marl bio The 411 on super-producer, Marley Marl [authored by Balance: 411@hiphop.sh]
• Allmusic biography
• Globaldarkness biography
• DJ Marley Marl - beatbuggy.com
• Facebook page

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (August 2009)

MC Shan (born as Shawn Moltke September 6, 1965) is an American rapper from Queens, NYC. He is perhaps best known for collaborating with Snow in "Informer", an international number one hit single.

Biography[link]

Born and raised in the Queensbridge Projects located in Long Island City a section in Queens, New York City, Shan is the cousin of old school hip hop producer Marley Marl. In 1985, Shan started in MCA Records with his first & only major single Feed The World. Despite the success, he was dismissed from MCA because "the rhymes you wrote was wack", according to KRS-One from his song South Bronx. Not long after, Shan moved to Cold Chillin' Records due to his relationship with Marl, and joined Marl's Juice Crew All-Stars. After a few singles were released, MC Shan's debut album Down By Law came out in 1987.

Shan also found himself to be a key player in the noted hip hop rivalry the Bridge Wars between the Juice Crew and Boogie Down Productions. The feud was started when Shan and Marl released a song called "The Bridge" as a B-side to "Beat Biter," itself an answer record directed at L.L. Cool J. KRS-One responded with "South Bronx," and the Juice Crew replied with "Kill That Noise." Slate magazine described it as follows: "In 1986, it was a beef that launched the star of KRS-One, when his withering attacks on MC Shan effectively ended his rival's career."^[1] Boogie Down Productions then released "The Bridge is Over," widely celebrated among hip hop fans as the paramount diss track.^{[citation needed]} Years later, MC Shan remade "The Bridge" into "Da Bridge 2001," and strongly denied the bridge "was over", saying:

The Bridge was never over

We left our mark

The jam is dedicated to you and your boys

I brought my Queensbridge thugs to kill that noise

Shan's second album, Born To Be Wild, followed in 1988 and revealed the b-boy persona of Shan, with production once again by Marley Marl. 1990's Play it Again, Shan displayed a more mature style, but it proved to be his last album. When Cold Chillin's sub label Livin' Large was active, he was listed as one of its artists but never released any material. Despite the fact that he focused more on his production career (like Snow's 12 Inches of Snow, which featured "Informer", on which Shan appeared) he recorded "Da Bridge 2001" for Nas's 2000 compilation called QB's Finest, which also featured Mobb Deep, Cormega, and Nature.

Shan also had a brief stint in film, playing a bit role in Steve Martin's L.A. Story feature film as Rappin' Waiter. He is also the older brother of female rapper and radio personality Princess Ivori. Shan is credited as the guest rapper on the Sum 41 song "Dave's Possessed Hair/It's What We're All About" from the album Half Hour Of Power.

Discography[link]

Albums[link]

• 1987: Down By Law
• 1988: Born to be Wild
• 1990: Play it Again, Shan

Singles[link]

• 1985: Feed The World
• 1986: The Bridge/Beat Biter
• 1986: Jane, Stop This Crazy Thing
• 1987: Left Me Lonely
• 1988: A Mind Is A Terrible Thing To Waste
• 1988: I Pioneered This
• 1989: Juice Crew Law / They Used To Do It In The Park
• 1990: Kill That Noise / I Ran The Game
• 1990: It Don't Mean A Thing
• 1991: Time For Us To Defend Ourselves
• 1991: Ain't It Good To You
• 1993: Hip Hop Roughneck
• 1993: Pee-Nile Reunion / Don't Call It A Comeback
• 1998: The Bridge 2000

References[link]

External list[link]

• MC Shan at Allmusic

Kero One
Kero One Playing Fender Rhodes at a concert in 2009.
Background information
Also known as	Kero Uno
Origin	San Francisco, California
Genres	Hip hop, Rap, R&B, Electro
Occupations	Rapper, Composer/Producer, DJ
Instruments	Vocals, Keyboard, Bass Guitar, Drums
Years active	2003 - present
Labels	Plug Label / P-Vine / M.net
Associated acts	DJ King Most, Ohmega Watts, Epik High

Kero One is a Korean-American hip hop MC and producer from San Francisco, California.

History[link]

Kero One originally worked as a web designer, making 50 copies of his first single with home equipment and personal credit cards. One of the copies was purchased at a record shop in Tokyo by a Japanese DJ, who generated interest for Kero One by playing it at a club. A Japanese record label then requested 3000 copies of the single, which led to performances throughout Japan. In 2005, Kero One released the self-produced album, "Windmills of the Soul," which was named the "Best Hip Hop Album of 2006" by Remix Magazine. In 2005, he opened the office for his own label, named Plug Label. In 2009, he released his second album, "Early Believers."

Kero One's style, "has been compared to Common, Q-tip, and Kanye West, but Kero One's music is very positive and upbeat..."^[1]

Highlights[link]

1. 5th Best Indie hiphop of 2004 on MSN music.^[2]
2. 4th Most Downloaded artist on Cnet's Download.com.^[2]
3. 2nd Selling underground hiphop album on HMV and Tower Records Japan.^[2]
4. 2nd most downloaded album on iTunes Japan.^[2]

Discography[link]

Albums[link]

Singles[link]

Collaborative Works[link]

References[link]

• KERO ONE - BIOGRAPHY

External images
	WMP screenshot
	cnet screenshot
	Firefox screenshot of HMV site (Underground Best Sellers)
	iTunes screenshot (Windmills of the Soul)

• Reviews of Windmills of the Soul
• Windmills of the Soul : rapnews.co.uk
• Windmills of the Soul : RapReviews.com
• Kinetic World : Lesson Six
• DJ Deckstream - Soundtrack 1.5
• Nomak Re-Calm

1. ^ Garcia, Cathy Rose A. (2009-06-15) "Rapper-DJ Kero One Makes Waves in US" Korea Times. Accessed 2009-11-05.
2. ^ ^{a b c d} [1], additional text.

External links[link]

Wikimedia Commons has media related to: Kero One

• Kero One on Myspace
• Plug Label on Myspace
• Allhiphop.com review (February 26, 2006)
• Platform8470 interview April 12, 2009
• Vinas, Len; John Coyne (photos) (March 10, 2007). "KEEP IT ALIVE: An Interview with Kero One". Oh Dang!. http://www.ohdangmag.com/archive/features/keep_it_alive_an_interview_wit.html. Retrieved 2009-04-22.