Kool G Rap Previews "Riches, Royalty & Respect,"

Recently, the legendary lyricist with the signature lisp, Kool G Rap, provided an early sneak peak to HipHopDX of Riches, Royalty & Respect (tentatively due in April). From the preview he provided, the first new offering from G Rap since 2008’s Half A Klip EP is shaping up to be a career comeback on par with Raekwon’s renaissance last year.

I’ll be honest wit’chu my dude, I ain’t get none from [DJ Premier]… I got a Alchemist track, [“American Nightmare”], with Havoc doing the chorus. That’s one of the highlights on the album. Other than that, I really didn’t chase names on this particular project because I was getting so much heat from dudes that was in the trenches… I look for quality, or I look for that heat period, and if somebody in the trenches got that heat I’ma run wit’ it.

We got niggas like [De La Soul producer] Supa Dave, [Philadelphia-based production duo] Level 13, The Insurgency, my man Leaf Dog, and my man Polka Beats who contributed in an amazing way to this album to make it what it is, and definitely got that heat.      

 

I found ‘em all through MySpace, and Facebook. I posted up a email for all producers to send tracks to, and these are some of the cats that sent tracks. And them shits is undeniable.

Large Professor on New Music With Nas, Neek the Exotic

Large Professor Says He Has A Lot Of Songs Recorded With NaS Ready To Go!

iSitdown w/ Keshown Cassell

B.Corder - Behind The Intro (Episode II)

Who's Next? Thisis50 Interview With Cardiak [Producer Of Lloyd Banks' "Start It Up"]

SYMBOLYC 1 & CALEB IN THE LAB

S1 and Caleb: In The Lab 2010 from S1/ S.K.P. Film and Photo on Vimeo.

DX News Bits: IMAKEMADBEATS, Hieroglyphics

IMAKEMADBEATS teams up with MidaZ The Beast for 'Nightlight,' Hieroglyphics announce collaboration with GOLDCOIN.

Producer IMAKEMADBEATS has joined forces with rapper MidaZ The Beast for “Flyers” the next single from IMAKEMADBEATS’ dual-EP Daylight/Nightlight.

On “Flyers” MidaZ expresses his frustration with the way artists are treated by both promoters and fans. IMAKEMADBEATS revealed that the song was actually inspired by rapper Method Man’s “Torture.”

"I’ll never forget Method Man’s 'Torture,'” IMAKEMADBEATS explained. "In it, he said, 'Say what you like, just spell my name right.' This song is dedicated to people who don’t respect you enough to spell your name right."

Both Daylight and Nightlight are currently available for download.

In other news, Hieroglyphics have partnered with Bay Area brand GOLDCOIN for the “micro product line” the Hieroman Collection.

The Hieroman Collection consists of five different products including two different t-shirts, a wooden keychain, wooden necklace, and vinyl toy.

The Hieroman Collection can be viewed at FollowTheCoins.com.

Q-Tip Talks Next Album, Producing For Drake

Q-Tip plots his next album, which may just be multilingual

Q-Tip is planning out his fourth solo album and hoping to release it within the next year or so. The former A Tribe Called Quest emcee/producer hasn't begun working on the album, but plans to begin focusing on The Last Zulu in February. The Abstract spoke to EW about the album and the other things keeping him busy.

“I feel like my fans have been so gracious over the years,” Q-Tip says. “They’re so smart that I want to extend the grace back to them and speak to them in their tongues.” Of course he can't speak French nor Spanish. “I’m going to have to brush up,” he added.

“It’s going to take us back to the days of when it was breakbeats," Tip said of his idea for the albums sound. "When [Grandmaster] Flash and [Afrika] Bambaataa was throwing on them hard beats. It’s going to have a lot of that energy, and it’s going to feel really big and anthemic. It’s going to be unlike anything I’ve done before.”

Tip also revealed that Drake used one of his beats for his sophomore album. “He told me it’s incredible,” Q-Tip said, who hasn't heard the final product. “I’m going to take his word for it.” Tip has also been working with Roc Marciano, Santogold and Esperanza Spalding.

DJ Premier And Pete Rock Speak On Their Production On 'Illmatic'

Producers DJ Premier and Pete Rock reminisce on their work on 'Illmatic,' state that a new Nas album wouldn't be the same without them.

In an informative sit down interview with producers Pete Rock and DJ Premier for DJPremierBlog.com the two producers discussed various projects and artists they’ve worked with including Notorious B.I.G., House Of Pain, Jeru The Damaja, Nas, and several other artists.

Among the most notable of the projects DJ Premier and Pete Rock spoke on was their work on Nas’ 1994 album Illmatic.

“I went first after Large Professor because I used to see Large Professor at Chun King a lot,” said DJ Premier in the interview. “He was playing me stuff. I was there when he made ‘One Time 4 Your Mind.’ Him and Nas would just be in there just bullshitting. I was like ‘Yo, is that gonna be on it? On the album too?’ And he’d be like ‘Nah, we just messing around.’ ‘One Time 4 Your Mind’ was just a messing around song. Then I heard the original way Large Professor did ‘It Ain’t Hard To Tell’ and I remember when he remixed it. And really the remix version is the one that’s on the album.”

Later in the interview DJ Premier explained that his track on Illmatic, “Represent,” was somewhat inspired by Pete Rock’s production on “The World Is Yours.”

“From there I got with Nas. I remember he got in the studio and we did ‘Represent’ first. That was the first one we recorded, but the version I did didn’t make the album,” DJ Premier explained. “It was a bass-line version. I played bass and then I swear to God as soon as I heard Pete do ‘The World Is Yours.’ I heard his version and went back to the studio to remix mine because I wanted to have the hottest beats on there…I really didn’t feel like the version I had was up to that level. I pride myself on being on the same level so he [Pete Rock] brought a whole different spark to it.”

Aside from speaking on their past work with Nas the two producers also gave their thoughts on a possible new project from Nas. A project that if made Pete Rock revealed wouldn’t be the same without production from the two.

“Well, I believe honestly he cannot actually have the idea of doing this album without me or him [DJ Premier]. You can’t do it,” said Pete Rock. “Not saying he can’t do it, but you gotta include us. It won’t be the same.”

Boi-1da Talks Carter IV, Drake's New Album, Eminem

Toronto's most sought after producer talks about his latest work with Hip Hop heavyweights

Toronto native Boi-1da has come a long way in the past couple years. Since blowing up in 2009 after producing the Eminem/Weezy/Drake/Kanye posse cut "Forever," the young producer has been in high demand. He spoke to Vibe about his rise and his latest projects.

Few producers with so few credits to their name end up producing for one of the biggest artists in the world. Even Boi didn't think it would happen. "Never," said 1da of working with Eminem. "The craziest thing is that I’m like one of the biggest Eminem fans. It’s surreal to actually think that this is happening. First, I was just in awe to be doing a song with him and to be talking to Em and him respecting my music. Now, that we’re up for a Grammy it just makes everything realer. The world knows now. It’s an honor and a humbling experience as well."

After producing two tracks on Drake's platinum Thank Me Later, including smash single "Over," he is back in the lab with Drake for his sophomore album. "We were actually just up in New York working, Lil Wayne was in there, too. I gave him stuff for Tha Carter IV. Man, 2011 is going to be a good year for music. Drake’s in tip top shape and what’s amazed me is that lyrically he’s gotten better. He was already an outstanding lyricist but now I’m just in anticipation of what people are going to think when they hear his new music. "

Who's Next? Thisis50 Interview With Dready [Producer Of Lloyd Banks' "Any Girl"]

DJ Premier To Release "Beats That Collected Dust, Volume 2" On January

One of Hip Hop's most beloved producers is expected to release a new collection of rare and unheard instrumentals.

On January 18, 2011, DJ Premier is scheduled to release Beats That Collected Dust, Volume 2. This will be the second official volume of rare and unheard instrumentals from the Gang Starr producer and deejay. The release will come through Premo's Year Round Records, who just released Get Used To Us, a compilation, earlier this month.

The tracklisting to Beats That Collected Dust, Volume 2 is as follows:

1. John T
2. Ch-Ching
3. Dots
4. Doomp Doomp Doomp
5. Stylesss
6. Epic-ishh
7. Beautiful
8. Change
9. Live Pro
10. I Don't Know
11. Late Night
12. N.Y.S.O.M. #20

RAYDO & BANGIN-TABLES WOULD LIKE TO WISH ALL THE MEMBERS A VERY HAPPY & SAFE HOLIDAY SEASON! MERRY X-MAS !

Video explains the world's most important 6-sec drum loop

Swizz Beatz Talks Art

Drawzilla recently got the chance to chop it up with super engineer Jaycen Joshua. Listen to him breaking down his discography, Justin Beiber, P Diddy, Last Train to Paris, and industry secrets on getting the perfect mix.

iStandard interview with Jaycen Joshua by Frankie P

Redman Explains How EPMD Taught Him To Help Producers

As exemplified in "Da Rockwilder," Redman has long been a producer-friendly emcee. The two-minute '99 hit took its name from a longtime Red collaborator, as the New Jersey icon frequently gives newer beat-makers prime opportunities on his works, or in the case of Reggie, established underground Hip Hop producer M-Phazes, who made "Cheerz."

Asked where his open ear for new production and more specifically, new producers comes from, Redman pointed to his own entrance to Hip Hop. "Shit, that comes from the masters that started me, the masters that started EPMD and Hit Squad - the first super-group," said an excited Red. "[The first outfit that was] gettin' different rappers together to make a group was EPMD, man, they was doin' that with K-Solo, with Das EFX - Das EFX was doin' a million copies [sold] in [1992 with Dead Serious]. Then [Erick Sermon] put me on [Business As Usual], and I did 500,000-600,000 on [Whut? Thee Album]. So it was just a domino effect."

Redman never forgot Erick and Parrish making stars, and says that he's stayed open to good musical chemistry since. "For example, Rockwilder, I met him through Shazzy. She was a rapper from Qyeens, and she had a record back [Attitude: A Hip-Hop Rapsody] in the day. I met him through her. Rockwilder did a record on Dare Iz A Darkside to Muddy Waters on out... till he got [famous]." In the years since, Rockwilder produced hits for Red, as well as the Grammy Award-winning posse cover of "Lady Marmalade," Jay-Z's "Do It Again (Put Ya Hands Up)" and De La Soul (and Red's) "Oooh."

For Redman, Hip Hop was an outlet that hit him at a time when he was already musically inclined. "I was playin' drums in the church with my moms at 15. She made me play drums with a church choir." Coming into the game behind the turntables with Lord of the Underground's DoItAll, Redman already was very familiar with Hip Hop records. "I was still deejay.

When I started poppin' off with EPMD... yo, my sisters will tell you, when I first heard [EPMD], I was like, 'Yo, I'ma do this shit!' They stood out. They had the slow-flow, [the music was based in] Funk; I love Funk. It wasn't nobody really doin' they sound when they first came out. [Erick Sermon and Parish Smith] was my favorite emcees doin' it, back in the day, besides KRS-One, Slick Rick - them are my fathers. No one fucks with KRS, still to this day. No one." Adding Ice Cube and N.W.A. to his list, Redman looked up candidly and said. "Those guys played a major role in who Redman became."

Producer Bangladesh Says "6'7" Was Initially Intended For T.I Instead Of Lil Wayne. "I Know How T.I. Is, I Knew He Really Wouldn't Be Rocking This Beat Right" Do You Guys Agree?

It happens a lot in the music business. Beats sometimes get passed around to several artist before one buys it.

That’s exactly what happened with Lil Wayne’s new song “6’7” according to producer Bangladesh. We could have been sitting here talking about how T.I. ripped it on his new ‘No Mercy’ album. Instead it dound it's way to Weezy.

“Due to the situation and the circumstances of the Cash Money situation I wasn’t really thinking about Wayne at that moment when I made it. I just knew that the beat was a big track and I couldn’t at the time think of nobody that could swag this like out like that or was worthy enough of this beat really,” Bang told BET.

At around the same time T.I. was working on his new album. Bang decided to send the track over to Gee Robertson, president of the rap division at Atlantic Records.

“I was actually sending the beat to Gee for T.I. I mean not that I think T.I. would sound that good on the beat. They were just looking for a single and somebody said, ‘Man send that over to Gee, T.I. need something.”

I already dealt with T.I., I know how T.I. is, I know he really wouldn’t be rocking this beat right there, so I sent it anyway.” the producer said.

Gee also happened to be a part of Lil Wayne’s management team. As soon as he heard the beat he called Bangladesh back, saying it would be perfect for Weezy instead of TIP.

So despite not having been paid for the ‘A Milli’ beat from Wayne’s ‘Tha Carter III’ album, Bang decided Wayne would be a better choice over T.I. for it.

I have never heard a producer be as critical of a rapper as Bangladesh was regarding T.I. He just has a totally different style than Wayne, but the man is a proven hit maker. I can't see Tip deciding to use the track and not do it justice, but I could be wrong.

Of Course Kanye West & Swizz Beats Are In The Running For Best Beat Maker This Year, But They Have Stiff Competion. Let's Vote On '2010's Top Producer Of The Year' [Poll + Videos]

End of the year lists are always a mixed bag. It’s generally somebody telling you who they think is the best singer, best actor, or who made the best album or movie.

But, today the fans will have their say and vote for who the “Top Producer Of 2010” is.

First we’ll take a look at the men behind the boards who had the biggest impact for the year, then vote to decide the top choice.

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CONGRATULATIONS TO THE FOLLOWING PRODUCERS FOR MAKING THE BILLBOARD LIST FOR TOP PRODUCERS OF 2010

YEAR END CHARTS 2010

Hot R&B/Hip-Hop Producers

# Producer Titles

1 POLOW DA DON 12
2 CHRISTOPHER "DRUMMA BOY" GHOLSON 5
3 KANE 5
4 STARGATE 8
5 NOAH "40" SHEBIB 8
6 RICO LOVE 5
7 MATTHEW "BOI-1DA" SAMUELS 8
8 T-MINUS 2
9 KASSEEM "SWIZZ BEATZ" DEAN 8
10 JEFF BHASKER 3
11 CHUCK HARMONY 8
12 KEVIN MCCALL 1
13 THE LEGENDARY TRAXSTER 2
14 HOD DAVID 3
14 MUSZE 3
16 JAMES "JIM JONSIN" SCHEFFER 2
17 CAINON LAMB 3
18 LOS DAMYSTRO 1
19 BRYAN-MICHAEL COX 5
20 TERIUS "THE-DREAM" NASH 11
21 WILL.I.AM 3
22 MISSY ELLIOTT 2
23 ALICIA KEYS 5
24 KAYGEE 1
25 LEXUS "LEX LUGER" ARNEL LEWIS 4

Prince Paul To Perform "Negroes On Ice" At Upright Citizens Brigade Theater

The Grammy Award-winning Hip Hop and Comedy producer will join his son DJ P Forreal for two December dates, in a show directed by Sasha Jenkins.

Acclaimed Hip Hop producer/deejay Prince Paul and son DJ P Forreal have run a successful weekly UStream show called "Negroes On Ice." Now, the off-brand comedy/music show is coming to a historic New York theater stage for two special nights, directed by ego trip's Sasha Jenkins.

On December 22 and 23, Negroes On Ice will perform at the Upright Citizens Brigade Theater in New York City. The show, produced by Peter Oasis, is billed as the following: "Learn about Hip Hop, father/son relationships and the kind of senseless violence that is so senseless that it’s funny. Again, word to your mother."

Although 2010 saw the famed De La Soul and Stetsasonic producer shy away from released music, last year he teamed with Souls of Mischief for the album Montezuma's Revenge

Exclusive: Bangladesh Buries 'A Milli" Beef With Rapper Lil Wayne

(AllHipHop News) Atlanta-based producer Bangladesh has reunited with rap star Lil Wayne for the release of Weezy's latest track "6'7," the first single from the upcoming album Tha Carter IV.

The track, which is the first release from Lil Wayne's highly anticipated album Tha Carter IV, features Young Money label mate Corey Gunz.

The pair's relationship became strained when Bangladesh accused Lil Wayne and Cash Money Records for failing to pay over $500,000 in royalties for the hit single "A Milli."

Bangladesh, born Shondrae Crawford, called Lil Wayne and cash Money "devils" in May of 2010, shortly after the lawsuit was filed.

"I wasn't getting paid royalties, that was the issue. But recently it's been cleared up and everything that's owed will be paid out and everything in the future will be handled properly," Bangladesh told AllHipHop.com. "It wasn't me who made this decision, Lil Wayne wanted these beats, because I didn't know what the relationship was."

Bangladesh has produced tracks for Nicki Minaj, Sean "Diddy" Combs, Fabolous and even Beyonce Knowles ("Diva").

Now that the contractual issues are cleared up, Lil Wayne and Bangladesh have resumed their working relationship.

Their latest collaboration "6'7," incorporates Harry Belafonte's hit song "Banana Boat Song," was actually delivered to Lil Wayne through Atlantic Records' executive, Gee Roberson.

Roberson also heads up influential management company Hip-Hop Since 1973, which also works with artists like Kanye West, Young Jeezy, Nicki Minaj, Drake and others.

"It was similar to a Milli. It was so hot, I didn't send it out to anyone because I didn't know who was worthy of this," Bangladesh told AllHipHop.com. "I remember when he was in he was calling me and asking me what the beat was saying, so I was just assume he was writing in jail and they were giving him the information so he could really build off it," Bangladesh told AllHipHop.com."

Lil Wayne's album Tha Carter IV is due in stores in February.

By Nolan Strong and Houston Williams

Hip Hop Legend Dr. Dre

Justin Aswell going crazy solo with Maschine

DJ Premier Talks Notorious B.I.G., Jeru The Damaja Beef, Death Row Records

Preme discusses the beef surrounding "Kick In The Door" and a Biggie, Suge Knight encounter

Back in the mid 90's when it was law for an east coast rapper to get a DJ Premier beat, Chris Martin ended up working with several artists who did not get along. In 1996 Jeru The Damaja released his sophomore album Wrath of the Math, which featured "Ya Playin' Yaself" and "One Day." Both DJ Premier produced songs featured jabs at Bad Boy, either blatant or perceived.

When Premier came in to work on "Kick In The Door" for Biggie's Life After Death, he told XXL what happened in the studio.

"I was blown away by the first verse. Second verse, when he said, 'Son, I’m surprised you run with them,' I stopped the tape. I was like, 'That’s how you feel?' He goes, 'I told you I had to get back at your man.' Just on some real nigga shit, I said, 'Go on and say what you have to say. I’m going to let that one go.' Puff was there. I told Puff, 'You and Jeru had your talk already.' Big interrupted and goes, 'Preme that wasn’t a talk, that was an argument. Nothing got solved.' I was like, 'That has nothing to do with you.' He goes, 'C’mon man, Versace suit.' I said in front of all of them, 'Anyone has a problem with Jeru then you have a problem with me, so move on me. Beat me up. I don’t want to get beat up but if that’s what I got to do to show you how loyal I am to my team and that we’re not dissing ya’ll. You’re making a big mistake if you do it.' I’ll never forget Puff. He was there at Daddy’s House like, 'Yeah, we’re coming after Jeru the Damaja too!'"

Premier rewound a couple years to the infamous '95 Source Awards when Suge fired shots at Diddy while accepting an award. "I’ll tell you an ill story. The day after Suge did that at the Source Awards was a New Music Seminar convention. [People thought] that Suge needs to watch him himself because he’ll get jumped in New York. No. We were at a panel with Buckwild and a couple other brothers. Then Big walked in. At the time, [Death Row] wanted Lady of Rage to work with me, I was like, I can’t do it until I get back from my tour. Rage and I were friends for a long time. But Suge’s brother was like, 'If you can’t do it now, you can’t do it at all.' We did the songs and they didn’t accept them."

"Me, Big and Buckwild are kicking it, laughing, chopping it up," Premier continued telling XXL. "All of a sudden, we hear someone go, 'You.' We look and it’s Suge Knight. We were all leaning against the wall. I go, 'Me?' He goes, 'You.' He comes over and goes, 'Yo man, I didn’t really like those songs you did for Rage.' I was like, 'Yo, I didn’t want to do the songs but your staff told me I had to. I didn’t have time to do it but that’s my homie and I want to be on her album.' He goes, 'Don’t worry about [it]. When can yo do some new beats?' I go, 'Couple of weeks.' He goes, 'Well, Dogg Pound is coming out first so you got another month.' He was talking very civilized. I gave him a hug. Big walks up to Suge and says, 'Ayo, I want to get in touch with Dre to do a couple of songs on my new album Life After Death.' Suge just looks at him and goes, 'Yeah, aight.' And walks off.

Saigon Talks Jay-Z Jacking His Beats

Saigon says Jay-Z took some beats that were intended for him, including Just Blaze's "Kingdom Come."

In a recent interview with The Urban Daily, Saigon talked about working with Jay-Z while he was still signed to Atlantic Records. According to the Brooklyn rhymer - who is currently gearing up to release his long-awaited debut album The Greatest Story Never Told this February 22 via Fort Knocks Entertainment/Suburban Noize Records - Jay-Z relieved him of a number of beats, including the Just Blaze-produced track that later became 2006's "Kingdom Come."

"Jay-Z was jacking for beats baby," Saigon said. "We were working at Baseline [Studios] and we're like a close family. Jay would come around, pop up every now and again and me and Just [Blaze] were in there working hard. Just would give me a gang of beats at a time and every now and again one would come up missing. One I'd write to or really loved then the next thing you know, there'd be a big meeting and they'd say, 'Sai, we need to talk to you. You know that beat we had? The one you were loving? Yeah, big homie's got that now.' And you know big homie's Jay-Z. He did that to me about three or four times. 'Kingdom Come' was mine."

Although Hov may have taken "Kingdom Come" from the Yardfather, he returned the favor by lacing him with his verse the "Come On Baby" remix free of charge. Saigon explains that Jay had initially taken that beat from him as well, but ultimately gave it back with his already recorded verse left in tact.

"'Come On Baby' was mine, he took it, did his thing to it and then gave it back because he didn't want to use it," he explained. "He gave it back to me but was like, 'You can keep the verse I left on there.' So I was like cool, you know what I mean? That was a big homie move because you can't buy a Jay-Z verse. You can't go to Jay-Z and say, 'Hey, we got a hundred thousand for you to get on the record.' He'd wipe his ass with a hundred thousand dollars. That's why he said that line, 'You wanna be in the public, send your budget,' that means your whole recording budget. That means if you get him, there's no money for producers, studio time, nothing. Send your budget."

50 Cent Accused Of Stealing "I Get Money" Beat

Rap star 50 Cent has been hit with a copyright infringement lawsuit by an aspiring rap artist from Atlanta, Georgia, who claims he owns the original license for the beat to the rapper's biggest hit single, "I Get Money."

Tyrone "Caliber" Simmons, 28, claims he purchased an exclusive license for all the rights to use, record, publish, re-produce and perform the "I Get Money" instrumental beat, which was produced by William "Apex" Stanberry.

The lawsuit, which was filed in the United States District Court, Eastern District of New York, claims that 50 Cent, Aftermath Entertainment, G-Unit and Shady Records knowingly infringed upon his instrumental track, which was included on 50 Cent's third album The Massacre.

"The misappropriation of copyright-protected material is an endemic problem in the music business, and particularly in the genre of hip-hop/rap This is one such case," said Louis D. Tambaro, an attorney at Red Bank, N.J.-based Marks & Klein, LLP, one of the firms representing Simmons. "Our client was granted exclusive rights to the 'I Get Money' instrumental and was unceremoniously cut out of the loop when the defendants realized they had a huge hit on their hands."

"I Get Money" also spawned a variety of remixes, including a popular "Forbes 1-2-3 Billionaire Remix" featuring Jay-Z, Sean "Diddy" Combs and 50 Cent.

"This type of infringement is simply not fair and will not be tolerated," added Kevin B. Legreide, an attorney at Legreide & Ceres, Toms River, N.J., which also represents Simmons.

XXL Ranks Dr Dre's 50 Greatest Beats Of All Time. Check Out The List & See If They Got It Right [Videos]'.

It’s easy to pick a great Dr. Dre beat. Picking 50 of them isn’t too difficult either. Where the task gets hard is in sorting them out.

There are still some people in the XXL offices who are disagreeing with each other over where certain beats fell in the pecking order, and we are sure our faithful readers will do the same. As a matter of fact, we can’t wait to hear what from our readers what we got wrong, why number five should have been number 20, and why some beat we didn’t put on the list should have been included.

So without further ado, let’s get right into the 50 Greatest Dr. Dre beats of all time.
http://www.thisis50.com/profiles/blog/show?id=784568%3ABlogPost%3A22793475

The sensai himself @skibeatz

A F.A.D.E.D. Interview - Ski Beatz from Maria "My-My" & Erika "E" on Vimeo.

DJ Premier On Ruggedness In Hip-Hop & BET Cyphers

A Night In Chicago With DJ Premier from ImFlashy.com on Vimeo.

PRODUCER WYCLEF EXPLAINS FUSING MUSIC TO MAKE WORLDWIDE HITS

*NEW* Pete Rock On DJ Premier Album, Producing Drums On "Runaway"

DJ Rhettmatic Talks Asian Americans In Hip Hop

DJ Premier Confirms Unreleased Gang Starr Material, Promises Foundation Album

In just over two weeks, DJ Premier will release his Year Round Records: Get Used To Us compilation, which features his artists such as Nick Javas, NYG'z and Khalil, along with longtime collaborators Freddie Foxxx, Lady of Rage, Royce Da 5'9" and KRS-One.

Promoting the album in a recent interview with Examiner.com, DJ Premier spoke about unreleased music recorded between him and his late Gang Starr partner, Guru. “Absolutely, absolutely we will [hear unreleased Gang Starr tracks],” said Premier, who worked with Guru between 1989 and 2003. The Texas native confirmed that those songs will appear through Year Round Records. Film footage is also planned for DVD release.
Additionally, DJ Premier stated that a Gang Starr Foundation album was planned for release. The Foundation includes mid-1980s group member, Big Shug, as well as acts such as Jeru Da Damaja, Group Home, and is believed to also include affiliates such as M.O.P., Freddie Foxxx, Smiley The Ghetto Child and NYG'z.
UPDATE: In a new interview with XXLMag.com, DJ Premier confirmed that he has at least five unreleased songs that he recorded with Guru in their time together as Gang Starr, between 1989 and 2004. The producer also revealed that he may remix vocals that Guru recorded overseas in 2008 and 2009, which have been given to him.

Amadeus: Hitman At Large

AllHipHop got the chance to catch up with multi- platinum producer Amadeus for an exclusive look at his role as Trey Songz’ Music Director. BadBoy Hitmen Producer Antwan “Amadeus” Thompson is the brain of musical organization for Trey Songz performances, live and in studio. As seen on BET’s My Moment With Trey Songz, Amadeus is also the lead drummer in Trey Songz’ band.

The multi-talented musician and director doubles as a record producer for Diddy At BadBoy, as well as the CEO of Platinum Boy Music. Amadeus has supplied the beats behind mixtape hits “I’m Raw” off of Fabolous’ There Is No Competition, “Ill’in” by Jeezy and The Clipse on Trap Or Die 2, and we even caught a peek of Amadeus on T.I’s F#ck A Mixtape .

As a music director I’m in charge of every musical aspect in regards to preparing for a performance, whether it’s a show or on tour. I sit down with Trey and we go over the vision he wants to portray. I direct the image of the musicians, song selection and whether half or the whole song will be played, sound… every musical aspect of a show. I meet with the engineers and make the major decisions necessary to keep shows the appropriate length. For the “PPP” Tour, Trey did 10 songs, whereas at a smaller show at Target or Rocawear, he might perform three or four songs.

It’s fun to be part of the band that’s making it all happen. I’ve been playing drums for 15 years, it was my first love and passion. I actually had aspirations of being a rapper, I think every producer or DJ always starts as a rapper. I was schooled by my colleagues on the glitz and glam of being an artist, but no money! I picked up the drums and started creating beats, and I really like how producing allows you to build. I get to take a beat and build an entire song around it and a melody.

I was sitting by myself in ASCAP, and needed a name for my production credentials. I’ve always been terrible at coming up with names, but I planned to just pick something and go with it. I figured I wanted my records to go platinum, and I’m a boy….Platinum Boy, which became my production company. As CEO I have artists and producers keeping my company afloat and thriving

I’ve been working a long time. I sat down to count the other day, and I have worked with over 50 R&B pop artists in 15 years. I’ve made a historical amount of records. I haven’t had my SMASH hit yet, but its comin‘. I’m so appreciative of my longevity. I got some tracks comin’ up with Tony Yayo, Fab, Keyshia Cole’s album drops this month, Red Café, Jordin Sparks, Young Jeezy, Kay Slay, Nado, and Papoose. I did this record for The Game, its too real.

By Mikaila Johnson

Producer's Corner: Red Spyda

From hits with Eminem, Royce Da 5'9", 50 Cent and Sheek Louch, the Miami native talks about paying dues, never dealing with A&Rs, and why video game money may be a misnomer.

He may be recognized for street anthems such as Realest Niggas from 50 Cent and Biggie and the Eminem and Royce Da 5’9” track "Rock City," but there is a lot more to Red Spyda than Hip Hop. Telling his story and explaining his way of making himself heard, this jack of all trades, master of most, has ousted the middle men and done all the work on his lonesome. And he isn’t stopping there.

Getting to New York City, the first thing I got was the Eminem and Royce Da 5’9" "Rock City" joint. It wasn’t easy, but I realized if I got to know the artists on a first name basis its always easy to get the records out with them when you have the relationship. I have never submitted a track to an A&R throughout my entire career; never…it’s a dead end.

I don’t want to say it like that, but from my perspective. Say Ludacris is in the studio working on a project, I’m not in the studio to know what the project is, so I’m there making beats to give to some other guy who is there, but he isn’t telling me what they are looking for when they want something specific, all they are doing is asking for hits. Now through my journey I have met a lot of producers who send out beats to the A&Rs and it just doesn’t get done. I do think it is harder that way and you should just try and build the relationships.

Let me tell you something about the gaming world,  people talk crap about the music industry but the gaming world – they don’t need us, and they let us know that. What they do, just so producers reading know, unless you are a brand, they will just license your track on the video game. The Grand Theft Auto I was on, I did a lot of those tracks, but what it was, and it was good marketing for me.

 To me, it shouldn’t always be about the money, some things like exposure will bring you money from other things. I wanted to comment about something I’ve been seeing on the Internet about producers not getting paid from certain situations. When I started out, working with Trick Daddy and those guys I didn’t have a name so I couldn’t go to people and demand money so what I did was look at this as a way to build the relationships and the as the value went up then I could charge and then I could charge more.

My legacy has been that I have never worked with the artist that is already established, which is one of the secrets to my success. Every artist I have ever worked with was on his or her way up from the underground. It is easier working with artists on their way up, as they want to work. A lot of up and coming producers want to work with big names. Me? I work with anyone.

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will.i.am Reveals He Suffers From Tinnitus, His Ears Don't Stop Ringing

The boisterous music producer says his ears ring constantly, and the Black Eyed Peas front-man can't stand silence.

Black Eyed Peas leader and acclaimed producer will.i.am is known for his ears. The Los Angeles, California native has produced hits for Nas, Game and Talib Kweli, in addition to his own group's multi-platinum repetoire. In a recent interview with The Sun Times, will revealed that he suffers from Tinnitus, a condition that leaves a ringing sound in his ears.

"I don't know what silence sounds like any more. Music is the only thing which eases my pain," said the producer known for boisterous dance-floor hits. "I can't be still. Work calms me down. I can't be quiet as that's when I notice the ringing in my ears. There's always a beep there every day, all day. I don't know exactly how long I've had this but it's gradually got worse."

Last week, the Black Eyes Peas released their latest album, The Beginning, which garnered a Top 10 debut on the charts.

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Freddie Gibbs Says Hi-Tek, Ski Beatz, Jim Jonsin To Produce "Baby-Faced Killer"

Gangsta Gibbs lets some light on his full-length debut, and says that too many rappers make songs for "soccer moms," as he credits Yukmouth & The Luniz for keeping it real and mainstream.

In a recent Boston, Massachussetts interview with Peter Parker, Gary, Indiana emcee Freddie Gibbs touched upon his upcoming full-length debut, Baby-Faced Killer. After releasing his retail EP, Str8 Killa with Decon Records this summer, the veteran gangsta rapper is working with some high-profile producers in addition to longtime collaborator, Josh The Goon.

"I just got it in with Jim Jonsin," said Gibbs about recording the album. He also revealed that he's working with Ski Beatz, Develop and Hi-Tek. Working with hit-makers for Jay-Z, Lil Wayne, T.I. and Reflection Eternal, Gibbs simply stated, "I'm just makin' moves

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Dr. Dre Says He Sold His Record Collection, And Reveals What He Kept

In VIBE's cover-story outtakes, Dr. Dre reveals that he parted ways with his 80,000 records, but spoke on what he decided to keep.

On the inserts to Dr. Dre's last album, 1999's 2001, the Compton, California music icon and then-production partner Mel-Man were photographed in a room filled with records, including titles scattered on the floor. During Dre's recent VIBE cover-story conversation with Jerry L. Barrow, Aftermath Entertainment's founder was asked about the status of his vinyl vaults.

"The record collection is gone now," Dre answered, revealing that his collection was approximately 80,000. Claiming that he wasn't using the records anymore, Dre prepared to part with the accumulated collection. "What I did was just went through and jotted down everything I was in love with so I could order it [later]."

In the Nodfactor.com outakes to the final published interview, Barrow asked Dre which records he kept. Three among the set aside records were Curtis Mayfield's Super Fly soundtrack, Nirvana's 1989 debut Bleach and Barry White's Greatest Hits. Speaking about the Grunge record, Dre acknowledged, "That’s one of my favorite albums ever made. I still listen to that shit to work out."

Dr. Dre's third solo album, Detox, is planned for early 2011.

Jay-Z's Black Album Supposed To Be All DJ Premier

DJ Premier talks about the original Black Album plans and working with Eminem

While making his rounds doing press for his new album (Year Round Records Presents Get Used To Us, out tomorrow), DJ Premier has revealed a lot of interesting things. His sit down with TheWellVersed was no exception, where he spoke about Jay-Z original plans for the The Black Album and on working with Eminem.

"I’ll give you a funny story. Jay-Z reached out to me when he was going to do The Black Album — this was years before he put it out because he postponed it, ended up working on other stuff, and then he came out with the album and decided to retire. Way prior to that he called me and said he was going to do an album and that he wanted me to do the whole thing. But he said, “I know how busy you are, Premo, but I want you to not have anything to do with anybody for the whole time we make this album. I need like a two week window, and we just do it.” And I understood where he was coming from, because he knows it had to be that deep of a situation to get it to be right and to call it The Black Album. Prince already made The Black Album. If you’re going to make one, it better be top notch. There’s a lot that goes along with that. So to approach me about that? That’s the same way I look at the Cold Crush, Fantastic, Kool Moe D, all that. LL and I have tried two or three times to work on stuff. He’s somebody you gotta sit down with and really focus on because he deserves that type of attention. And I’m proud to give him that type of attention. I wouldn’t want to do a quick little rush job. And then you have ones like Termanology that can do a one night thing because they’re the new hungry artists that are ready to just write on the spot and get it over with. You know Jay always just writes on the spot off his head, and then he leaves the work up to me. A project like that is just that delicate. I treat my stuff based on the level of what it’s going to take to really make a masterpiece. I’m proud of all my work, but there are certain artists that just deserve a whole different special attention."

He also spoke about the Eminem collaboration that was supposed to happen in 2008 when Slim was making Relapse. "Me and Eminem spoke about a year ago when he did the ciphers with BET and we finally got to kick it face to face," Prem said. "We had a good conversation. There’s a uniqueness about certain artists, so with him? I have to put certain things aside to work with him, and I gotta be realistic with what my schedule already allows me to have going on. I knew if I was going to work on Eminem tracks, I can’t be working on anything else. Strictly Eminem. That’s how much I want to give him the illest, what-the-fuck-is-that type shit, where everybody is like “yo, did you hear the Eminem and Premier shit?!” I know it will be great. But he’s still alive, I’m still alive, and hopefully I will keep breathing, and in that time frame we’ll get around to that."

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Joe Budden Explains Using Just Blaze's Unauthorized Beat On "Mood Muzik 4"

by J-23

UPDATE: Joe Budden explains how he came to use the Just Blaze track without permission

Just Blaze had words for Joe Budden this morning on Twitter. Budden used an unauthorized Blaze beat for Stuck In The Moment from Mood Muzik 4. Here is some of what the producer had to say.

It didn't take long for Joe to apologize and fix the situation. Three hours after his original tweets, Just updated the situation.

UPDATE: In late October Just Blaze was unhappy with his former collaborator Joe Budden when he used a beat without his permission on Mood Muzik 4. While the issue was quickly cleared up between the two New Jersey natives, Joe took the time to explain to RapFix just what happened:

“When we were creating the Slaughterhouse album I got a beat from Emile; real talented guy, I love him,” Budden said. “I recorded to it right there on the spot. I planned on using it for The Great Escape but that didn’t happen at the time. So I said let me put this out on Mood Muzik 4. I love the record, I’d love for the fans to hear it.”

After being unable to reach Emile to get permission, Budden figured he was safe to go ahead and use the track. When he finally heard back from the Buffalo native the album was pressed and Joe was on a plane headed across the Atlantic. Emile informed him that the beat was actually produced by Just Blaze.

“In my head I’m like, ‘Am I in the fucking matrix or some shit?’ ” Budden wondered. “I haven’t got a beat from Just Blaze since who knows how long, this can’t be his beat.”

“Just also comes from that school of integrity,” said Budden, who called the producer to apologize after the Twitter outburst. “He just wants the music to be heard the way that it’s supposed to be heard.”

Producer Rico Love Talks Working With Dr. Dre, T.I.

Rico Love talks putting in work with the good doctor, as well as the King of the South.


Producer Rico Love has come a long way since entering the game, and it shows by the company he keeps.

In an interview with Billboard, the man behind Usher's "There Goes My Baby," in addition to other hits, revealed that he's currently working on Dr. Dre's highly-anticipated album Detox.

"I just went in the studio with Dre," he explained. "We worked on a few records and he played me some music. We worked on maybe two or three ideas. I'm supposed to go back in the studio with him soon."

Dr. Dre isn't the only Hip Hop royalty Love's been chopping it up with, as T.I. has also enlisted his services. The two recorded an upbeat party record with "lots of energy and I'm on the hook. It's a good, fun song for the clubs -- it's something he was missing. When he came home, he was focusing on those tough records. But people want to hear him having fun, so Jim Jonsin and I gave him a radio-friendly record."

Additionally, Rico Love is recording with Pleasure P, Jamie Foxx, as well as his own artists.

by Slava Kuperstein

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