Hit-Boy collaborates with Travi$ Scott for his new release “Go All Night”.
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Young Greatness – “Moolah”
Young Greatness drops “Moolah,” produced by former Cash Money in-house beatmaker Jazze Pha. “Moolah” is instantly catchy and even more irresistible on repeated listens. The New Orleans native switches up his flows, rocking back and forth between a Migos-esque style and a rapid-fire, straight-ahead flow before bringing in the melody over the song’s hook.
Cool Amerika – “Make Sum Shake” (Produced by Cassius Jay)
Cool Amerika releases their new single, “Make Sum Shake”, produced by Cassius Jay. This track lives on Cool Americka’s latest mixtape “No Taxes 2”. Stream below.
Silverfoxx ETO – Stacked Waters
Bringing you a new sound to kick back and vibe to, this latest sound comes from Silverfoxx ETO, check out his latest EP “Stacked Waters”. Support good music !
https://soundcloud.com/silverfoxxeto/sets/stacked-waters
If you like what you hear feel free to contact the artist via social media:
Twitter :https://twitter.com/SilverfoxxETO
IG:https://instagram.com/silverfoxxeto/
Soundcloud: https://soundcloud.com/silverfoxxeto
Email: [email protected]
Jim Jones – “Miami Vampin”
Stream or download Jim Jones most recent Vampin mixtape that flips the Miami Marlins logo. Looks pretty dope as Jim Jones runs through a quick view of his life. After his visit on Highly Questionalbe via ESPN where he took shots at French Montana this is definitely deserved of attention. Whats Jim got to say?
A$AP Rocky To Feature Kanye West, Lil Wayne, Mos Def And More On A.L.L.A (Official Tracklist)
June 2nd couldn’t come any sooner as the official tracklist has been released for A$AP Rocky’s upcoming album A.L.L.A. ( At. Long. Last, A$AP). Standout features on the much anticipated release include Kanye West, Lil Wayne, Mos Def, and Future. Also, Rocky makes sure to stay true to his influences as he has a track featuring UGK and a song named after wavy imprisoned Harlemite Max B. A.L.L.A. is executive produced by Juicy J and Danger Mouse, as well as the late A$AP Yams.
01. Holy Ghost f. Joe Fox
02. Canal St. f. Bones
03. Fine Whine f. M.I.A., Future & Joe Fox
04. L$D
05. Excuse Me
06. JD
07. Lord Pretty Flacko Jodye 2
08. Electric Body f. Schoolboy Q
09. Jukebox Joints f. Kanye West & Joe Fox
10. Max B f. Joe Fox
11. Pharsyde f. Joe Fox
12. Wavybone f. Juicy J & UGK
13. Westside Highway f. James Fauntleroy
14. Better Things
15. M’$ f. Lil Wayne
16. Dreams (Interlude)
17. Everyday f. Rod Stewart & Miguel
18. Back Home f. Mos Def, Acyde & Yams
Rowdy Rebel – “Vamonos (Freestyle)”
GS9 member Rowdy Rebel gives a freestyle over the YT Triz banger “Vamonos”. Many remember YT Triz dropping “Vamonos” last month with features from Rick Ross & Lil Wayne. Stream below.
1500 Or Nothin, Young Guru & Just Blaze Explain Makings Of Jay Z Tidal Concert
Take a look at Jay-Z’s Tidal show from the eyes of 1500 or Nothing. This is a dope way to recap the concert from their perspective. You know how 1500 or Nothin does!
Spotify’s Contract With Sony Music Leaks – How Does Spotify’s Stream Payout Compare To Jay Z’s Tidal?
(AllHipHop News) In a relatively short amount of time streaming has become the most vital part of the music industry. Last year saw streaming profits overtake CDs sales for the first time, which explains why companies like Spotify, Beats Music, Pandora, and Tidal are actively battling for market share.
[ALSO READ: Hip Hop/R&B Was The Most Popular Genre On Streaming Services In 2014]
While the streaming services are set to make a lot of money, there have always been complaints that artists are being shortchanged in the new music profit revolution taking place. That perceived unfair financial exchange between streaming companies and content creators was the reasoning behind Taylor Swift’s decision to pull her catalog from Spotify and the stated purpose of Jay Z recruiting some of the biggest stars in the world to invest in Tidal.
Most of the information about the deals between the streaming services and the music labels have been kept secret, but The Verge obtained a copy of Spotify’s contract with Sony Music. The website laid out the details of the contract.
Spotify was to receive 5 percent “off the top” from select ad sales revenue, Spotify paid $42.5 million in advances to Sony, and Sony was guaranteed something called a “Most Favored Nation” clause. The latter section ensured that Sony got a better deal than any other label during the length of the contract.
Spotify was also stipulated to pay $0.00225 per stream with a possibility of it rising to $0.0025 per stream for revenues from its free tier. 75% of Spotify’s 40 million users opt for the free service.
But what about the artists’ cut? The Verge reports:
Sony Music is likely getting considerable payouts from Spotify each year, but what it does when it gets that money — and how much of those payments actually make it down to the artists — is still unknown. Some artists have clauses in their contracts to get a larger share of the streaming revenue, and some artists are still operating under CD-era contracts that only give them 15–20 percent of their streaming revenues.
Aloe Blacc became the poster child for modern artists effectively being left out of the music streaming profit-sharing model. Blacc wrote an op-ed where the singer-songwriter revealed he only made $4000 from Pandora for his work on Avicii’s “Wake Me Up!” The song was streamed over 168 million times in the United States.
Jay Z brought up Blacc’s situation during his discussion with students at New York University’s Clive Davis Institute of Recorded Music. The Hip Hop representative suggested his new Tidal platform’s payout to artists would be different from competitors like Pandora and Spotify.
“You guys may have seen some of the stats like, Aloe Blacc had a song that was streamed 168 million times and he got paid $4,000,” said Jay. “For us, it’s not us standing here saying we’re poor musicians. If you provide a service, you should be compensated for it. And not just artists — just think about the writers and the producers.”
Jay has speculated the disparity between Tidal’s royalty payout and other streaming services’ royalty payout have led to a “smear campaign” against his company. His NYU presentation also consisted of Jay stating one of the goals for Tidal is to force other streaming services to increase their revenue sharing with the musicians.
“If just the presence of Tidal causes other companies to have better pay structure, or to pay more attention to it moving forward, then we’ve been successful in one way,” Jay added. “So we don’t really view them as competitors. As the tide rises, all the boats rise.”
Recently, a supposed copy of Tidal’s royalty statement was uploaded to the internet. The document claimed Tidal pays out twice as much as Spotify. However, a Tidal representative told AllHipHop.com that Tidal’s royalty per stream was $0.024 – $0.028. That is close to ten times Spotify’s free tier per stream payout listed in the Sony Music contract.
[ALSO READ: Tidal Announces “Tidal Discovery” Program & Concert Series For Undiscovered Artists]
Trinidad Jame$ Details “Trip$ to Trinidad” EP & Book
Trinidad Jame$ speaks with Mikey T The Movie Star about the process behind creating his new 4 Track EP conceived in Trinidad dedicated to his country of birth as well as the new photography book of the same name “Trip$ to Trinidad” created after several trips James decided rather then letting the pictures go to social media he would create a visual release for the people.
Trip$ to Trinidad is available for purchase now @ TJamesWorld.com
FRESH HEAT – Ty Money – “Just Bars Freestyle”
With the city of Chicago prepping for Summer, Ty Money’s heating up the streets with the Cinco de Money mixtape that dropped earlier this month. His story is as real as it gets and you can hear a good bit of it if you pay attention to the life Ty is describing in his “Just Bars Freestyle.”
AD Ft. YT Triz – “What Yall Tryin To Get Into”
Compton rapper AD teams up with Florida rapper YT Triz for a new track “What Yall Tryin To Get Into” p### by Larry Jayy.
EXCLUSIVE: Grandmaster Melle Mel Addresses His Issues With Grandmaster Flash
(AllHipHop News) One of the most celebrated Hip Hop groups of all time is currently in the midst of a war of words and a battle over legacy. Grandmaster Flash and the Furious Five was a collection of six South Bronx representatives. While Flash’s name led the crew’s moniker, it was five rappers (Melle Mel, The Kidd Creole, Keith Cowboy, Scorpio, and Rahiem) that laid down the vocals for the crew’s tracks like “Supper Rappin,” “Beat Street,” and the classic “The Message.”
[ALSO READ: Grandmaster Flash Joins 1970’s Themed Netflix Series “The Get Down”]
Flash eventually parted ways with the group, but the other surviving members are upset that he is still recognized as the de facto representative of the Furious Five. Melle Mel and Scorpio reportedly have had difficulty performing under the brand that they helped established. Scorpio even publicly called Flash the “Milli Vanilli of Hip Hop.”
AllHipHop.com was able to conduct an interview with Grandmaster Melle Mel where the rap pioneer spoke about his concerns with Grandmaster Flash’s continuous role as an outsider from the group. Particularly, Mel addressed the controversy surrounding the induction of “The Message” into the Grammy Hall Of Fame in 2012.
Read an excerpt from Grandmaster Melle Mel’s interview below.
The reality of it is that Flash don’t work with the group. Like when we did the Grammy Hall of Fame. When they inducted “The Message” in the Grammy Hall of Fame, they didn’t call Sugar Hill Records, they didn’t call me – they called Flash. And Flash was gonna induct the record in the Grammy Hall of Fame and they were gonna use LL (Cool J), Lupe Fiasco, Common and Rick Ross. And the only reason we got on to do the record was because they had to call Joey (from Sugar Hill Records) to get the rights for the publishing. We were working with Joey at the time and he said they wouldn’t give them the rights unless we would be on the program to do “The Message.” – Click here to read the full interview.
[ALSO READ: Grandmaster Melle Mel: “Hip-Hop Has To Grow Up”]
Melle Mel: Of Grandmaster Flash, Money and Men
Grandmaster Melle Mel is unapologetic. The consummate legend and his partner-in-rhyme Scorpio have waged a war of sorts on Grandmaster Flash, another one of the pillars of Hip-Hop. There have been a number stories in circulation – rooted in fact and a lot of conjecture. There have been names thrown out like “The Milli Vanilli of Hip-Hop” and “Grandmaster Fraud.” However, at the root – Rock-N-Roll Hall of Famers Melle Mel and Scorpio have found it extremely difficult to take their show on the road because it is inexplicably tied to the group name: Grandmaster Flash and The Furious Five. This is the sort of beef Hip-Hop hates, but it boils down to men, not music. Melle Mel maintains many things in part 1 of this exclusive interview.
AllHipHop.com: A few years ago, I wrote a piece on you years ago and I consider you one of the greatest rappers of all time. Putting that out there. Now, we are here. I have a lot of people that don’t want me to talk about this , they don’t want me to interview nobody, they say I shouldn’t even be putting this on AllHipHop. They say some things shouldn’t even be public matters. From that perspective can you tell me why you and Scorpio decided to come forward in this manner against Grandmaster Flash.
Grandmaster Melle Mel: I mean its real simple. Its just plain economics. When we started out and was in the ground Grandmaster Flash and the Furious Five, we all basically came up together, helped build that name and then now – the way it is right now…. Flash was the first one to understand what branding was so he took that part and he set us all out. No matter what happens, if you say “Grandmaster Flash,” you think of “Grandmaster Flash and the Furious Five,” but you never get to the “Furious Five” part. With that, he does like 200 shows a year and me and Scorp are lucky to do like 9 shows. But, we all based on the same group and the same music that Flash really never had a part in the music.
“As far as the group go, I did all the heavy lifting. I wrote every song. I’m the one that worked with Quincy Jones. I was the one that worked with Chaka Khan. I was the one that worked with Harry Belafonte. Flash is sitting on the side and he’s taking all the credit.”
It took a lot to build the group, first of all. We had a good group. Second of all, when we were with Sugar Hill Records, we had great promotion and we did some of the greatest records ever. That name – Grandmaster Flash was on all the records and after he left the group – for songs like “White Lines” – he wasn’t even on Sugar Hill Records. But, he gets credit for being on “White Lines.” Out of loyalty for Flash…I grew up with Flash..I’ve known him since I was a little boy basically.
We just swept it all under the rug. And he’s out there acting like he’s doing something that we never did. We bled Grandmaster Flash and the Furious Five. As far as the group go, I did all the heavy lifting. I wrote every song. I’m the one that worked with Quincy Jones. I was the one that worked with Chaka Khan. I was the one that worked with Harry Belafonte. Flash is sitting on the side and he’s taking all the credit. If you look at “The Message” video it ain’t like there is a DJ in the video. So, the average person would come out of to see the body of work that Grandmaster Flash and the Furious Five did, the average person would come to the conclusion that I was Grandmaster Flash because I was the face of the group. Somehow, he’s holding that against me like I took something away from him. I changed it to “Grandmaster Melle Mel,” because we’re trying to sell records. He still benefited from it. No matter what we did, it still came back to Grandmaster Flash. When I see Grandmaster Flash, he looks at me like some kind of back-up dancer.
Why would he did that, I bled for this dude. Our names are so intertwined, if I found a cure for cancer right now, the headline would say, “Grandmaster Flash Finds A Cure For Cancer.” And he knows that. That’s why we have to go through a public campaign of publicly separating ourselves, because we haven’t worked with the dude in over 15 years. He won’t come out and publicly say that. So we coming with the new campaign and the new music. Let it be known, we don’t have anything to do with each other.
We’ve tried everything we could do to be loyal to Flash, everything from not cutting him off in the Sugar Hill Days. Everybody had DJ’s and they cut them off. Every after we didn’t work together, we stayed loyal to him, because we’re all from the same hood (The South Bronx). We wouldn’t want to have to come back to the hood and explain why we don’t work with Flash. But he don’t show any loyalty. For Flash to posture up on me like he invented toilet paper, that’s not the way to do things.
“When they inducted “The Message” in the Grammy Hall of Fame, they didn’t call Sugar Hill Records, they didn’t call me – they called Flash. And Flash was gonna induct the record in the Grammy Hall of Fame and they were gonna use LL (Cool J), Lupe Fiasco, Common and Rick Ross.
AllHipHop.com: Are you guys looking for a legal solution, because that’s what Scorpio said.
Grandmaster Melle Mel: Yeah, because we feel we should have the right to use the name “Grandmaster Flash and The Furious Five,” because thats the only way we can get work. Nobody’s gonna book “The Furious Fives,” nobody’s gonna book “Grandmaster’s Furious Five,” nobody’s gonna book “Grandmaster Melle Mel And The Furious Five.” They are either gonna book “Grandmaster Flash” or “Grandmaster Flash and The Furious Five.” Even if you take away the DJ, you still should be able to work under the name of the group.
AllHipHop.com: Does he own the whole name of the group – the whole name?
Grand Master Melle Mel: Not “Grand Master Flash and The Furious Five,” but his own name, because that’s who he is. You can do whatever you want with the Furious Five, because ain’t nobody gonna remember that anyway. In certain (international) territories we license “Grand Master Flash and The Furious Five.” At the end of the day, its worth fighting for. Its not like Flash was a great DJ and that’s how he’s known today. He’s known because he was in a great group that went on to do great music. That’s what he’s know for. Being a DJ didn’t get him that known. That’s why he’s the first DJ in the Rock-N-Roll Hall of Fame. Not because he was a good DJ, but because that’s the first (rap) group we want to put in the hall of fame. That’s what it is.
AllHipHop.com: Would y’all wanna work with him still to tour or is it just the fact that you and Scorpio just want to perform? Because, then people might feel cheated that they didn’t get the whole group if Flash is not a part of it.
Grandmaster Melle Mel: And you’re 100% right, but the reality of it is that Flash don’t work with the group. Like when we did the Grammy Hall of Fame. When they inducted “The Message” in the Grammy Hall of Fame, they didn’t call Sugar Hill Records, they didn’t call me – they called Flash. And Flash was gonna induct the record in the Grammy Hall of Fame and they were gonna use LL (Cool J), Lupe Fiasco, Common and Rick Ross. And the only reason we got on to do the record was because they had to call Joey (from Sugar Hill Records) to get the rights for the publishing. We were working with Joey at the time and he said they wouldn’t give them the rights unless we would be on the program to do “The Message.” Other than that, he would have done “The Message” with Common and them and that’s that. He don’t wanna work with us. And, at this point, I’m a grown man, I don’t necessarily wanna work with him either. Flash stands behind me, he always did.
“Nobody never kicked Flash out the group. Flash left the group after we did the Gold album for Elecktra. We all met out in the park. His exact words were: he’d help us do an album, but he didn’t want anybody using his name.”
If I don’t have no problem with that, he shouldn’t have no problem with that. In the past 15 years, he’s done thousands of shows, did about three albums – none of them you could wipe your a** with – that’s how garbage they are. At the end of the day, we deserve to work how he works, because I put in my work to make Grand Master Flash Grandmaster Flash. I don’t think he put in any work to make Melle Mell Melle Mel.
AllHipHop.com: What about the fact that Flash is a DJ and DJ’s tend to have more longevity. Like DJ Jazzy Jeff, he still does mad shows. Fresh Prince is now an actor, but as a rapper, he’s no-so-hot. Rappers have a different cycles than a DJ. If Flash is playing music, shouldn’t he be able to eat off that?
Grandmaster Melle Mel: I never said that I was mad at Flash for doing shows. If you go see Flash for doing a show, and the high point of his show is when they play “The Message,” he taking money out of my pocket. Because I could have been on that show. Flash is a little different than Kid Capri and Flex and all these guys. Flash is known for doing good records that he really didn’t do. Flash comes from a different paradigm. He comes from a great Hip-Hop group. If he does 200 shows, can’t nobody tell me at least 50 of them the promoter says, “What can we do to get the whole group here?” It has to happen, because every time that I do a show, they ask for Flash! It happens and he shuts it down. When you see the dude, he act like he’s Gladys Knight and I’m one of the back-up Pips. He treats me like I’m not even one of the original Pips. And I grew up with this dude. It almost makes me feel he’s not from the Bronx and he doesn’t have a connection on what’s going on there.
Its not like I ever had any cross words for Flash. Its like if he’s doing as good as he’s doing an I know I had something to do with him doing that good, he should show some kind of loyalty. And I’m not saying he should being doing it now, he should have done it 10, 15 f**kin’ years ago.
AllHipHop.com: Some of this is what I am hearing. So many people are hitting me up. Somebody told me – and I didn’t read this myself – that Flash wrote and autobiography where he claimed the Furious Five kicked him out the group and “left him for dead.” From there, he started doing a lot of drugs and almost died. From there, he got himself together and started DJ’ing again. Did that happen?
Grandmaster Melle Mel: No, that never happened. Nobody never kicked Flash out the group. Flash left the group after we did the Gold album for Elecktra. We all met out in the park. His exact words were: he’d help us do an album, but he didn’t want anybody using his name. From us being as close as we were, we didn’t even kick him out the group when it was brought to our attention that we should kick him out the group. Joe Robinson wanted us to kick him out the group when we did “Freedom.” Even when he was doing drugs, we kept that under the lid. Missed a couple of shows, we go do the show, nobody ever put him on blast. We never said we had to kick Flash out the group because he’s cracked up. Nobody would never do that.
RELATED: Is Grandmaster flash the Milli Vanilli of Hip-Hop? These Legends Say “Yes”
He don’t work with Rahiem, Kid Creole or anybody. He’s doing shows all over the world, he’s getting credit for making “White Lines” and “The Message” and he wasn’t in the state of New Jersey (when they were recorded). Flash heard the records when everybody else heard the records – when they came on the records. None of the Sugar Hill records got scratching on them. “Flash one time, Flash two times” was me writing him into the record. That’s how the records came out like that. He knows that. He’ll take the glory, but he don’t wanna be a part of the grind. You’ll never hear Flash say, “I didn’t have nothing to do with ‘The Message.’ I didn’t have nothing to do with ‘White Lines.’ I never physically scratched on a Sugar Hill record other than ‘Grandmaster Flash On The Wheels of Steel’.”
AllHipHop.com: Rahiem (a member of the Furious Five at odds with Mel and Scorpio) had a lot to say on Facebook. Did you see that?
Grandmaster Melle Mel: No. A couple of people told me about it, but no. Its hard to buy into what Rahiem says. I never had a cross word with Rahiem, my brother (Kid Creole) – nobody. I think he’s just doing it to get some likes on Facebook. He has my number. And, anytime you see Rahiem – it ain’t like we have an argument.
AllHipHop.com: One thing he did say that was interesting – I ain’t gonna lie, a lot of what he said was interesting. But he said he was trying to get royalties back from Sugar Hill (Records).
Part 2 coming soon.
Ghostface Killah Was Supposed To Have 3 Women On VH1’s Couples Therapy!
Ghostface Killah is one of the most flamboyant, entertaining and unpredictable personality’s in Hip-Hop. This deadly combination of traits usually leads to pure genius with his music and great entertainment on a reality show. Rappers that have dabbled into the reality world arena usually has mixed results. Ghost seemed to go into this sketchy situation and turn it into a unpredictable mix of emotions, dueling women and a Ghostface Killah looking kinda bad (to all women) and yet kinda good (to all men), by he pulled the ultimate mack move on a couples reality show.
GFK’s stint on VH1’s Couples Therapy had the MC from Stanton Island on a show show to help his relationship with his current girlfriend. Ghost dropped a bomb on the show by relieving he has an additional girlfriend and brought her on the show to form an on camera love triangle. This sent his “Couples Therapy” girlfriend Kelsey, running from the cameras. Did you get all that? Well, before you try to figure that all out, Ghostface Killah explains to AllHipHop.com that he was supposed to have THREE women on the show! Having two women was a mega-bomb in itself but, three, that would have been legendary entertainment.
See what Ghost says about his reality show experience and if he would do another reality show:
Dunson – “Tremendous” (feat. Roméo Testa)
After resigning from his career as a Baltimore-based financial advisor, the Maryland native decided to pursue a career in Hip Hop. Dunson, a multi-instrumentalist and lyricist has since gained a fan base through the success of his Creative Destruction mixtape series, and July 2012 release, The Investment. Dunson’s momentum then landed him a full-page feature in XXL Magazine, opening performances and features with John Legend, Lupe Fiasco a guest feature on Chrisette Michele’s latest album, Better as well as a major production credit on Yo Gotti’s single “Respect That You Earn” f/ Ne-Yo & Wale. His forthcoming project entitled “Outlier” is set to release in June 2015.
Joe Budden Says Jay Z’s “B-Sides Freestyle” Was “Damage Control” + Defends Spotify & Apple (AUDIO)
(AllHipHop News) Jay Z’s ongoing business battle with streaming competitors Apple, Spotify, and Google has been in the headlines for weeks. The Hip Hop mogul’s purchase and re-launch of the Tidal platform has garnered criticism from the public, and rival companies have reportedly launched efforts to halt its success. Jay even alleged other companies are running a “smear campaign” against Tidal.
[ALSO READ: Spotify Chairman Martin Lorentzon: “I Got 99 Problems – Jay Z Ain’t One”]
Jay fired back at the naysayers during his B-Sides concert in New York City over the weekend. The Brooklyn born emcee spit a freestyle which included direct shots at Spotify and Google owned YouTube. He even questioned consumers on why they are willing to repeatedly purchase iPhones and Nike sneakers but not spend money on music.
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Joe Budden addressed Jay Z’s “B-Sides Freestyle” on his podcast this week. The Slaughterhouse member took issue with some of the points his former label boss made in the verse.
Budden said:
[Jay] made mention of [Nike co-founder] Phil Knight and [Apple co-founder] Steve Jobs. What he alluded to was that he faces a different type of oppression because of the color of his skin. Now while he might, I’m not certain that that’s true.
I think smear campaigns are business. I think the streaming business is very lucrative and beneficial today. And I think as a new person coming in, your competitors would be trying to get you the f*ck out of here. That’s one.
Two, as far as Steve Jobs and we bought nine iPhones and as far as we bought all those sneakers and Phil Knight’s a f###### trillionaire – the part that he left out was the iPhone at the time was considered the best product on the market by many. Steve Jobs didn’t go to anybody and say, “Hey we’re not getting all of our money, so you should purchase this.”
Nike is considered by many to be the best sneaker on the market. It just so happened that today Tidal is not considered that. But you shouldn’t be considered that in your fourth month of business. I don’t think anything is happening that, as wise as a businessman that he is, he shouldn’t have anticipated…
None of this stuff should come as a shocker to him which is why it’s a bit alarming to me that so much damage control continues to be done. I think the freestyle was damage control.
Jay and Joe have a complicated history. Budden partially blamed Jay, then Def Jam president, for the lack of success while at the company. The two also exchanged shots at each other on records, most famously on Joe’s “Talk To Em” and Jay’s “Reminder.”
[ALSO READ: Freeway Talks Reuniting With Jay Z & Beanie Sigel At Tidal “B-Sides” Concert + Meeting Freddie Gray’s Family In Baltimore]
Listen to Joe Budden’s podcast below.
PREMIERE: Ro Spit Ft. Big Tone – “Roses & Daffodils” (P###. by House Shoes)
Rising Detroit emcee Ro Spit sends out a special salute to some of his city’s living and fallen hip-hop visionaries on his new track Roses & Daffodils. Over a somber boom-bap instrumental from the highly respected DJ and acclaimed producer House Shoes, Ro is joined by Big Tone as they both drop a meaningful and sincere verse about those who have paved the way and inspired them, as well as recognizing their peers. Supporters of Ro can expect him to get into album mode with this being the final promotional track, and new content coming from his upcoming LP entitled IVLife…, which drops next month!
Killa Kyleon – “If I Ruled The World (Freestyle)”
For Day 11 Killa Kyleon proves that he has no intentions of slowing down. Determined to give you #30Days30Deaths, Killa Kyleon resurrects Nas’ classic Lauryn Hill assisted track, “If I Ruled The World”.
Grandmaster Flash Joins 1970’s Themed Netflix Series “The Get Down”
(AllHipHop News) Hip Hop pioneer Grandmaster Flash is joining the production team for the upcoming Netflix show The Get Down. The 57-year-old legendary DJ will serve as an associate producer and adviser for the Baz Luhrmann helmed drama.
[ALSO READ: Netflix To Premiere Hip-Hop Drama ‘The Get Down’ In 2016]
Flash will also be portrayed in the series’ storyline by Mamoudou Athie. The Get Down is set in New York City during the 1970’s. Both fictitious characters and real life figures will be featured in the plot.
Billboard describes The Get Down:
Consigned to rubble, a rag-tag crew of South Bronx teenagers are nothings and nobodies with no one to shelter them — except each other, armed only with verbal games, improvised dance steps, some magic markers and spray cans. From Bronx tenements, to the SoHo art scene; from CBGBs to Studio 54 and even the glass towers of the just-built World Trade Center, The Get Down is a mythic saga of how New York at the brink of bankruptcy gave birth to hip-hop, punk and disco — told through the lives and music of the South Bronx kids who changed the city, and the world … forever.
Grandmaster Flash was one of the instrumental artists of that era. He helped create innovations in the art of DJing that became standards in Hip Hop. His group, Grandmaster Flash and the Furious Five, released the groundbreaking 1982 single “The Message,” and they were the first Hip Hop act inducted into the Rock and Roll Hall of Fame in 2007.
[ALSO READ: Grandmaster Flash Talks Hip Hop’s Expansion & Revolutionizing DJ Techniques (VIDEO)]
Watch a short video about “The Get Down” below.