Samuel "Tone" Barnes and Jean Claude "Poke" Olivier, THE [original] TRACK MASTERS, are not typical Hip-Hop junkie producers. They do not "keep it real" by concentrating strictly on hard banging beats. Nor do they rely on excessively synthesized violins to create their trademark mystique. Unlike many of their contemporaries, they have secured street credibility while capitalizing on the heavily commercial driven market. Their flavor lies somewhere in the dusty corners of your father's old record collection and in the most innovated minds that urban America has to offer. Without much thought to their creative equation, THE TRACK MASTERS took the music that they were raised on, dissected and recycled it and presented it as the hottest songs on radio. This has made them responsible for Hip-Hop's most prominent artists' most successful jams. Their first introduction is probably the most magical meeting ever in the "Fairy Tale" of rap music. The story goes that their respective friends submitted their instrumental tapes to a manager in search of tracks for his group. The manager loved their work so much, that he instantly started calling them "my track masters." The rest as they say is history. And it is history that this duo is known for making, as they were driving forces behind the phenomenal mega return of rap pioneers Will Smith and LL Cool J. They have also literally sprinkled new jacks like Nas, Foxy Brown, Soul For Real, Total, Faith and the late Notorious B.I.G. with stardust, earning them collectively over 7 gold & 20 platinum plaques. Still their love for diversity, has allowed the two to experiment with a variety of projects that further exposed their unique talent. THE TRACK MASTERS have given voices to many artists who dream of becoming more active in their own creative maturation. This is most obvious in their works with R&B divas Mary J. Blige and Mariah Carey. As executive producers for Mary's double-platinum third project, SHARE MY WORLD, they encouraged her to write and become more involved in the recording process. With this endeavor, they achieved a double platinum anthem album for 1997. In Carey's case, THE TRACK MASTERS emerged from behind their MPC's and became "THE TRACK MASTERS," the business men. Along with Steve Stoute, they established TRACK MASTERS ENTERTAINMENT and gave body to Mariah's dream label, Crave. It was through this collaboration that the platinum-selling group Allure released their debut LP, Head Over Heels in 1997. As executive producer and Vice President of TRACK MASTERS ENTERTAINMENT, Barnes admits "[Poke and I believe that] it's fulfilling to say that your label discovered and helped develop a brand new group." Their commitment to both the business and creative sides of the company are obvious as they spend countless hours in the studio and maintain constant communication with the home base office. "From the day we met, Tone & I have hung out just about every day," reflects Olivier "We're like brothers, and though we have our fair share of arguments, our relationship stays strong." To add to the mythical cloud that surrounds these two visionaries, they exude the gemini dynamic as if they were from the same womb. They finish each other's sentences when they are together, they were born one day apart and they both have been in love with music all their lives. For many producers, working with platinum artists and running a successful label are reasons enough for them to toast their crystal flutes. Amazingly, THE TRACK MASTERS have established themselves as top-notch they lend their expertise to new artists like Noreaga, Cam'ron, and Kasino. This is important because as producers they need to surround themselves with the hottest talent on the streets. This philosophy is reflected by the rich stable of talented producers they have recently inducted into the TM school of production and the label roster that is as talented as THE TRACK MASTERS. Barnes explains "We have wide-ranging musical tastes and we wanted our label to reflect that. We wanted to be open to all genres of talent." And talent is the one factor that all the artists on TRACK MASTERS RECORDS have in common. The label's roster features veteran DJ, Kid Capri; Blaque, a slamming Hip-Pop trio from New York and Detroit; 50 Cents, a clever rhyme thrower from Queens; Nature, from the famed Firm project that included Foxy Brown, AZ and Nas; and Femme Fatale, an edgy female version of The Beastie Boys. So whether they are nurturing new producers, breaking new artists, composing summer block-buster anthems (like "Men In Black" for Will Smith) or co-producing with R&B icons Michael Jackson, Kenny "Babyface" Edmonds, R. Kelly - THE TRACK MASTERS keep their head and continue to be the tangible "intangibles." "As we grow, we're never going to change," Barnes says "We've learned so much over the years through producing, it makes perfect sense that we now take the next steps to running a label. We've become better track masters. And whenever you master anything -you have to pass that experience on or it will go forgotten. " No one will ever forget them. The legend of THE TRACK MASTERS will always stand for blaze in the streets.

There is a difference between an 'Industry Big Willie' and a music executive. Though a slight one, the distinction lies in the consistent perseverance one dedicates to his or her career. It is more than becoming a success over night because one has been associated with a "hot" talent. It is reflected by character, assertiveness, drive and above all vision. Steve Stoute epitomizes the true meaning of a music executive. Stoute's career started modestly as a tour manager for Kid N' Play in the late eighties and early nineties. As a graduate from Syracuse University (and the proverbial School of Hard Knocks in Queens, New York) he structured his duties as tour manager into a management company, Stiggedy Entertainment in 1994. After Kid N' Play's commercial success declined, RCA recognized Stoute as a visionary with a his finger on the pulse of the urban market and offered him an opportunity to work as A&R Director for their Black Music Division. During his time at RCA, he was able to introduce to the world such artists as the Wu Tang Clan, SWV and AKINYELE. It was there that he was introduced to and began to manage superstar producers Tone & Poke, the Track Masters. This alliance between THE TRACK MASTERS & Stoute developed into one of the most powerful entities in popular music today. With the dynamic production of Tone & Poke and Stoute's keen business savvy, they are responsible for bringing urban music to another level. Stoute's reputation started to grow and before long he represented underground rap sensation Nas and R&B Diva Mary J. Blige. THE TRACK MASTERS produced the majority of Nas' double platinum, sophomore release IT WAS WRITTEN on Columbia Records and supervised Blige's triple platinum 3rd album SHARE MY WORLD on MCA. After witnessing Stoute's commitment on the Nas project, Sony Music President, Tommy Mottola recognized his talents and appointed him the Senior VP of A&R at Sony Music. As Senior VP of A&R, Stoute (along with his outstanding staff) was responsible of Sony dominating radio & charts for the past two years.

In addition to mapping out the creative direction for Sony Music's extensive stellar roster, Stoute established a label deal with Sony Music dubbed Track Masters Entertainment.

From this marriage, platinum recording artists Allure was born. Currently Stoute holds yet another title, Senior Executive of Track Masters Record --a multimillion dollar joint venture with Columbia Records (the former label was transformed to this entity in 1997). The new company roster includes solo rapper Nature (featured on the Firm Project), female rappers Femme Fatale, Hip-Pop teen queens Blaque, Allure and DJ extraodinaire Kid Capri. He also holds a consultant relationship with Interscope Records. Steve Stoute has laid his Midas touch on the following music icons: Will Smith, The Notorious B.I.G., LL Cool J, Babyface, TLC, Mary J. Blige, Heavy D, New Edition, The Firm, Mariah Carey, Nas, Kirk Franklin, R. Kelly, Brian McKnight, The Fugees, Jon B., Michael Jackson, Total, Soul For Real and Allure.

He has also demonstrated through his no-nonsense negotiations and genuine love for his work that urban music is the music of the world. This stance has qualified Stoute (according to the Hip-Hop Bible, The Source) as one of the top ten most powerful persons in Hip-Hop. In an era where one hit wonders are considered "Big Willies" it is essential to state the difference between them and music executives. Music executives know the music, they know what the people want to hear, and have given blood, sweat and tears to see their ideas come to life .

A music executive -a great music executive- Steve Stoute.

By Nikkei Duncan