B.o.B. and Atlantic Records held an exclusive album listening for his new album “Strange Clouds.” The private event took place at Tree Sounds Studios, bringing out some of Atlanta’s top DJs, media, and record company executives.
B.o.B., who also hosted the event, sat down and previewed songs off of the new album, offering a description of each song he has chosen for the project so far.
As a spectator listening to this preview, B.o.B. is – quite simply put – futuristic. The music we heard that night was amazing. B.o.B. has reached the next level in his career, and his new music clearly shows it.
Watch our video of B.o.B. speaking about performing at The White House TWICE, and what you can expect from the “Strange Cloud” album:
Words won’t give the new album justice, but at least it will have you salivating for 2012. Here is a list of the songs that were previewed by B.o.B.:
Song #1 “Strange Clouds” featuring Lil Wayne – We already knew this song was B.o.B.’s first single, and it’s a hot. If you haven’t heard it, take a listen here:
Song #2 “Play The Guitar” featuring Andre 3000. Yes it’s the return of Andre 3000 with a vengeance! B.o.B. not only holds his own on this super crazy track with 3 Stacks, he competed with him on this guitar driven/sampled, head bobbin’ track. Andre actually plays the guitar at the end of the track.
Song #3 “5 On The Kush” featuring Big KRIT In the vain of The Luniz “I Got 5 On It,” this 2012 weed song with Big KRIT is going to be a huge song in iPods as well as weed cyphers. KRIT is hot and B.o.B. continues to deliver lyrics on another level.
Song #4 “So Hard to Breathe” When I first heard this, I felt like troubled kids, the huge jobless community, and just people having hard times can relate to this song. It’s very much a feel-good song – inspirational and rhythmic all in about three minutes. Cool track.
Song #5 “Arena” featuring T.I. Teaming up with the General of Grand Hustle is always a good thing. The momentum-building track explains growth and performing in front of crowds of 50,000+ people, hence the title “Arena.” Another hit as T.I. and B.o.B. both pound this track in their own fast-paced delivery. Having them together on the same track makes this song a hit.
Song #6 “MJ” features Nelly. B.o.B. said that “this song is what I do when I’m chilling on the weekends.” When he said that the song was “MJ,” I went straight for Michael Jackson in my mind and B.o.B. listening to old Michael music. WRONG! It’s inspired by Michael Jordan, and B.o.B. is balling on this track. It’s a great track, which is a sure head nodder when you hear it in 2012. If you like basketball, you’ll love this track.
Song #7 “So Good” featuring Ryan Tedder of One Republic shows more of B.o.B.’s versatility, as he teams up with another artist/producer from the popular group. B.o.B. mentioned that working with another others helps him to deliver better music, since they both would think very similarly and they know the best way to vocally perform on the track. It’s pretty deep seeing two real musicians work, because this song is another one of the “futuristic” songs.
Bonus track:
Song #8 “Circles.” A woman at the session asked if he had any songs for the ladies, and B.o.B. replied with this bonus song of the night – possibly one of the best songs. This was tailored for the ladies and had every shaking in their seat in some way. I expect this song would make the album.
Even if you weren’t old enough to play the “Kissing Game,” chances are you’ve heard Hi-Five’s single of the same name, at some point, on any number of urban, R&B stations around the world.
Hi-Five debuted with their self-titled hit album in 1990, which spawned singles like “I Can’t Wait Another Minute” and their biggest single, “I Like the Way (The Kissing Game).”
In 1992, just before the group’s second album, Treston Irby joined the group and helped power Hi-Five to amass a number of Top 10 singles throughout the decade.
The group took a long hiatus when lead singer Tony Thompson died from inhaling freon in 2007. Now, most of the original group members are reuniting and preparing to release a new album of material.
“We are coming together again for our fans,” group member Treston Irby told AllHipHop.com. “All true R&B fans will love the new material.”
Until the group album is ready, Treston Irby is dropping his first solo album titled 10473, an area code for the Bronx. The first single from the album is titled “Everything.” Check out the video below:
During a recent sit down with AllHipHop.com, rapper A$AP Rocky, who recently signed with Polo Grounds Music, spoke on his music video directorial skills. In addition to the videos he has directed for his own songs, “Purple Swag” and “Pe$o,” Rocky recently shot the video for Fool’s Gold artist Danny Brown’s next single, “Blunt After Blunt.”
Some well-known fashion designers popped up on Danny’s set, and Rocky also told us about Mos Def, Kendrick Lamar, and Dave Chappelle stopping by to show some support and chat. Find out what he had to say about the whole matter below, and make sure to check for Danny Brown’s “Blunt After Blunt” video when it drops in the near future.
Will the elusive Chappelle actually appear in the video? Only time will tell.
(AllHipHop News) R&B singer Chris Brown recently flexed his rapping skills during a BET Awards “Cypher” and now he has has been tapped to bring some hip-hop flair to the upcoming dance film “Planet B Boy.”
The movie is being directed by Bronson Lee, who also produced the award-winning documentary of the same name.
The original documentary focused on the B Boy scenes in Japan, France, Germany, the United States and other countries.
The documentary followed five B Boys around the globe, as they prepared for the battle of the year in Germany.
The feature version of “Planet B Boy” follows a dance crew, as they train to compete for the championships in France.
Brown’s team must compete against crews from Korea, Russia, France and other portions of Europe in the film version, which will also star Laz Alonso, Josh Holloway and others.
Rostrum Records held a listening party last night (October 27) for Mac Miller’s debut album Blue Slide Park at the infamous Quad Studios in Manhattan. The album, which is set for release on November 8, is one of 2011’s more anticipated releases following the success Mac has had over the past year as an independent artist.
Amidst a crowd of writers, bloggers, a number of industry people, and even producer Statik Selektah, Mac’s cool, calm, and collected demeanor helped ease any concerns some might have with the project, and if he has changed up his the recipe that has worked so well for him because of his debut.
Before the play button was hit on Blue Slide Park, Mac briefly addressed the crowd, saying: “I like the album, I hope y’all like the album. I don’t really want to say too much about it. I’m just going to let it play. I just want to ask for you to turn it up loud, ’cause I like to listen to it loud, and enjoy Blue Slide Park.”
From what we heard at the session, fans are in for a treat come November 8 when Blue Slide Park hits stores. In the meantime, check out the music video below for Mac’s new single, “Party on 5th Ave,” which dropped just last night:
Although I have never been a fan of Soulja Boy’s music, I have been an enthusiastic supporter of the infectious entrepreneurial, “do-it-yourself” spirit he has instilled amongst his legion of fans – the majority of which belong to Generation Z, “The Net Generation.” With fame, and the rapid rise of DeAndre Way’s career, however, he has had to face a considerable amount of scrutiny and condemnation, in regards to a series of imprudent personal decisions that have been revealed under a bright, public spotlight.
On October 18, 2011, the 21-year rapper and four others were charged with felony possession of marijuana and guns – of a “substantial amount” – after being pulled over by police for a traffic violation in Temple, Georgia. The arrest fell exactly a week before the DVD release of his mini-documentary, Soulja Boy: The Movie, which was directed by Academy Award™ nominated director Peter Spirer (Notorious B.I.G. Bigger than Life, Tupac Shakur: Thug Angel). Unfortunately, in response to the arrest, all pending press activities were postponed indefinitely.
What disturbs me the most about DeAndre’s recent arrest lay not in his decision to travel (and apparently carry) illegal drugs and weapons consciously, but rather the implied “normalcy” – as a bonafide member of America’s economic “upper crust” – to engage in such actions. On the other hand, from a purely legalistic perspective, I am dismayed by the disproportionate search of vehicles owned by Black drivers during traffic stops by law enforcement officers, which ultimately leads to racially-imbalanced percentages in arrests and rates of incarceration.
[SIDENOTE: Contacts Between Police and the Public, 2008, a special report by the Bureau of Justice Statistics: (1) “Black drivers were about three times as likely as white drivers and about two times as likely as Hispanic drivers to be searched during a traffic stop.” (2)“During traffic stops in 2008, about 57.7% of searches of the driver only and 60.0% of searches of the vehicle only were conducted with the driver’s consent.” (3)“About 36.1% of drivers who were only physically searched and 20.7% of drivers who only had their vehicle searched believed police had a legitimate reason to do so.”]
According to Temple Police spokeswoman officer Dana Rampy, five ounces of marijuana were found in DeAndre’s transport vehicle. Considering the quantity cited by law enforcement officials, this unfortunate incident alludes to more than simple possession for “recreational” usage and instead a spotlight on frequent “illicit” usage by the artist and members of his entourage.
Above and beyond these concerns, I am deeply troubled by the felony record that has also been attached to Soulja Boy’s “permanent record.” (Historically, he is simply an addendum to a long list of fellow rappers – from DMX to T.I. to Wiz Khlaifa, and Big Boi – all of whom have been charged for the possession of controlled substances or related paraphernalia.) In light of this nagging legacy and its enduring presence in contemporary times, what does the Hip-Hop community – whether membership be defined as a producer or consumer of the culture – have to say about the ever-increasing number of its visible “role models” – even if they do not see themselves as such – being disenfranchised within socio-political frameworks?
If Hip-Hop aims to be an active and powerful agent of “undefined” change, then what steps its community take to safeguard and empower its young men who serve as “mainstream” representatives for countless millions? Who, pray-tell, is guiding and mentoring the current generation of entertainers?
For more of Clayton Perry’s “views” and interviews, visit his official website: www.claytonperry.com
“Quincy [Jones] told me, ‘If the power goes out on you, you can still play. If the power goes out on the majority of those involved in Hip-Hop, they’ll have to stop what they are doing.‘” – Terrace Martin
The musical career of South Central Los Angeles native Terrace Martin started at the young age of eight when he first began to learn how to play the saxophone. Although he steadily practiced for hours everyday as a youth, it wasn’t until he transferred into the music program at Locke High School in Watts, CA that he began to hone his skills under the tutelage of the school’s respected music director Reggie Andrews. Terrace was later able to break into the Hip-Hop business as a musician and a producer, working with the likes of Snoop Dogg, Kurupt, Game, Wiz Khalifa, Nate Dogg and many others.
As a member of the Snoopadelics (Snoop Dogg’s live band) Terrace teamed up with his boss to form a production team called N*ggarachi, in which the duo produced for different acts. Other mentors that Terrace has gone on to work with include DJ Quik, Teddy Riley, Dr. Dre, and his musical idol – Quincy Jones. A master of the saxophone, Terrace often blends his Smooth Jazz sound over tightly constructed Hip-Hop beats. After releasing free projects such as the original Locke High, Signal Flow, Here My Dear, The Love EP, and The Sex EP – Terrace is now set to release his next album Locke High 2 on October 25 via iTunes. The young musical genius sat down with AllHipHop.com to talk about the inspiration behind the new album, and how he almost got sued by Kim Kardashian this past summer. Read on!
AllHipHop.com: You’ve named two of your albums after your old high school. Why is that?
Terrace Martin: I came over to Locke High School in Watts from Santa Monica High School. The East Side has a different way of thinking and living than the West Side where I’m from. It’s about survival on the East. Living in a concrete jungle like the projects where everything is built the same and looks the same is mind washing. I saw the areas of my life where I was spoiled. I had friends that were happy just to be with their families on Christmas, and here I was upset because I didn’t get the new Super Nintendo.
At this time, I’m playing music because I know it and like it, but I noticed that the East Side kids were doing it to try to help their families’ situations. Being around that mentality made me feel the same way eventually. I moved up from practicing eight hours a day to 13 hours a day. I practiced Jazz, and the gangsters would calm down when I played. They always told me my music was an escape for them.
The Jazz spots on Central Avenue was all that the Black community had in Watts during the ’30s, ’40ss, ’50s, and ’60s. Everybody played there – Charlie Parker, Duke Ellington, Frank Sinatra. I didn’t know this until I went to Locke High. That’s why I felt a connection there. All of the musicians that I was trying to be like went through Watts at some point.
AllHipHop.com: When did you begin to transition from Jazz to Hip-Hop?
Terrace Martin: One of the gangsters that I went to school with told me that he loved Tupac’s music, so I learned how to play “I Ain’t Mad At Cha.” One day at school, I decided to play it for him. After playing the song for a few minutes, I noticed that I had an audience of about 17 of the hardest kids at school, and they were all singing and enjoying it. That’s when I knew that I could reach people through Hip-Hop. Jazz was intriguing for my generation, but it didn’t have the same powerful impact that Hip-Hop had. I learned to respect both cultures for what they are. Some have tried to mix the two without understanding the language of Hip-Hop, and it sounds a bit corny. You have to understand the language and the feel of both Jazz and Hip-Hop in order to infuse them together.
I grew up in the same neighborhood as DJ Battlecat, and we happened to share the same barber. I knew Battlecat from the music that he made with Domino out of Long Beach. I constantly stopped by the barbershop to see if I could try to catch him. One day he pulled up, and I played some beats for him. Soon after, he invited me to the studio and asked me to bring my horn. So I go and I’m playing on one of his songs while sitting next to other producers like Jellyroll and Blaqtoven at Battlecat’s studio on Crenshaw and Adams. That was the beginning of our work together. He was my hero because he was the closest thing to success that I knew of personally. He was on the radio and from the same ‘hood – and to me that was huge.
There was a guy who frequented his studio named Marlon who also played guitar for Snoop Dogg. I was at the spot making beats and improving. One day, Marlon took my beats to Soopafly who oversaw a lot of Snoop’s music. I was going through a tough time and had to sell my personal equipment in order to survive. When Soopafly found that out, he gave me a check for $20,000. I bought some dumb stuff with that money, but I also made sure to go out and buy a drum machine and some equipment. After that, I was able to hook up with Snoop Dogg.
Terrace Martin ft Wiz Khalifa Kendrick Lamar – “Do It Again”
AllHipHop.com: You’ve worked with your musical heroes starting with Battlecat, Soopafly, DJ Quik, Teddy Riley, Dr. Dre, and finally, Quincy Jones.
Terrace Martin: Teddy is the one. People don’t know that he’s the one. Teddy Riley did “The Show” by Doug E. Fresh. He’s been through so many eras of Hip-Hop and can play just about any genre of music. People like him can hear something and just start playing it. Quincy Jones as also instrumental to me. He told me that no matter what, I should never stop playing my horn. I was going through a period where I was down because of the music business, and Quincy told me that what I have is special. It’s not just the ability to work a drum machine, and I’m not hating on anybody doing that. He reminded me that I was a musician first and to never forget that. Quincy told me, “If the power goes out on you, you can still play. If the power goes out on the majority of those involved in Hip-Hop, they’ll have to stop what they are doing.”
AllHipHop.com: What’s your philosophy as an artist and musician?
Terrace Martin: My job is to play for you. If your day was messed up, I’m trying to make it better. When I’m playing for you, we are exchanging spirits at the same time. I’m taking on your frustrations and trying to make it so that you can go home and sleep in peace at night.
AllHipHop.com: This past summer you made it to the gossip sites because you were almost sued by Kim Kardashian. She claimed that you were using her exposed breasts on the cover of your album, The Sex EP.
Terrace Martin: I partnered on that project with radio personality Devi Dev. She loved the cover that our art guy made, but I wasn’t a fan of it at first. I accepted it because she loved it, and we’re a team. I grew to like the cover – it had a nice set of breasts. The project was released for free download and it was a success. One day I get an email that was sent by Kim Kardashian’s attorney. It contained a cease and desist letter that stated our cover was using a picture of Kim’s exposed breasts.
Devi got scared and panicked. She’s a radio person but I’m used to this kind of drama. I had my attorney read the letter over, and then I called the guy who made the cover art. He said that he didn’t know if those were Kim’s breasts in that picture. I didn’t know either because that’s not my department. I don’t know to this day if those are Kim’s breasts. In order for her to sue me, she would have to go in person to my attorney’s office and prove those are her breasts. I would have to examine them, too. [laughter]
AllHipHop.com: Kim shut down your download links all over the Internet!
Terrace Martin: That’s money! Money can do that. There were over 200 download links. We decided to re-release the album with a few new songs added and a new cover – besides, I like bigger breasts anyway! I wanted some real natural ones, better ones than hers – if those are hers to begin with. We hired a model this time and got a picture of some real breasts for the re-release. My thing is this, if you don’t want your exposed breasts all over the place, then stop taking pictures! It’s crazy to me.
AllHipHop.com: Let’s go back to Locke High 2 real quick. When did you get the inspiration for this new album?
Terrace Martin: I got inspired to do this new project when I was mixing Jay Rock’s album last year. I was in the studio with Dr. Dre and DJ Quik. When you shake Dre’s hand, you get inspired. That guy gives you records just like that. He’s put so much work into Detox, and he’s always surrounded by the best musicians and writers. I don’t have his budget, but I have people of my own, too. I’m not trying to be the best rapper or the best beat maker. I’m trying to be one of the best from my era when it comes to putting together a complete body of work. I’m trying to be one of the best producers, real producers.
I brought in young talents like Kendrick Lamar, Problem, and Ill Camille. Problem is known in Los Angeles for his radio songs, but he can go. I surrounded myself with these young talents, and they, in turn, inspired me. Problem is to me what The D.O.C is to Dr. Dre. I also collaborated with other producers like Hi-Tek and The Bizness.
I did the first Locke High album, and nobody understood why I named it after my school. This time you’re going to understand and hear the influence that the East Side had on me. I’m not from Watts, but they embraced me. It’s the place where I learned 80 percent of my music.
(AllHipHop News) New Orleans rapper Curren$y has expanded his Jet life Recordings, adding half of The Cool Kids, rapper Sir Michael Rocks and Harlem’s Smoke DZA to the roster.
This past Sunday (October 23) Curren$y took to Twitter to unleash the news about Sir Michael Rocks.
“Roll one for @SirMichaelRocks for he is indeed Jet Life Official… Pop a bottle for dat man,” Curren$y tweeted. “So honestly we must follow @SirMichaelRocks… simply because #mikerocksisjetlife.”
While most fans saw this coming, yesterday (October 26), Curren$y revealed another signing, frequent collaborator Smoke DZA.
Curren$y took to Twitter to announce the news once again.
“Well its late, but not to [sic] late to pop a bottle for @smokedza joining the set… J.L.R… Now to turn this bus into a celebration station.”
In an interview with Ashley Outrageous, Sir Michael Rocks spoke in depth about the signing.
“I was talking to Curren$y a little minute ago about what I was doing on the solo side because outside The Cool Kids, I kind of wanted to be like the Wu-Tang theory,” Sir Michael Rocks explained regarding the solo deal.
“You know they had a group, but all the individual members, they break off and do they own s**t too and make classics, then come back in to the group, link back up and make that s**t bigger,” Sir Michael Rocks stated.
Before the Jet Life Recordings deal, Sir Michael Rocks was allegedly rumored to be in the process of signing to Dame Dash’s BluRoc Records.
However, Sir Michael Rocks says that he respects Curren$y’s ambition for his Jet Life imprint.
“It really wouldn’t be a better place for me right now… at this point in my career,” Sir Michael Rocks added.
Sir Michael Rocks also says that he will join Curren$y on the road soon.
The new label boss is currently on The Smoker’s Club tour alongside Method Man, Big K.R.I.T., and newest signee Smoke DZA.
“I’m on tour with The Cool Kids right now… after I get off this tour, I’ll probably end up hopping on the road with them for a minute and finishing off the rest of that tour,” the rapper revealed.
Sir Michael Rocks also hinted at a possible Jet Life compilation as well.
“You know we have to the inaugural posse cut,” the rapper reasoned. “We’re going to the inaugural posse cut real soon and just smack everyone over the head.”
Curren$y, who was signed to Master P’s No Limit Records, as well as Lil Wayne’s Young Money label early on in his career, has seen a resurgence in popularity in the last few years.
On February 1, Curren$y signed a label deal with Warner Bros. Records for Jet Life Recordings, with Covert Coup being the first released project under the imprint.
Sir Michael Rocks and Smoke DZA will be joining the Jet Life roster alongside Curren$y’s two young buzzing sidekicks, Trademark Da Skydriver, & Young Roddy, as well as former No Limit rapper Fiend, Corner Boy P, Monsta Beatz, Street Wiz and Mousa.
