Red Cafe Signs With Bad Boy Interscope Officially Announced Preps 'Red October' New Album

via the press release

SANTA MONICA, Calif., May 5 -- BAD BOY/INTERSCOPE RECORDS announced today the signing of rapper Red Cafe to their new label partnership which was cemented late last year. Red Cafe is preparing for the release of his debut album, Red October. His current single, "I'm Ill" features Fabolous and is produced by hot newcomer Boi-1da (Drake's "Best I Ever Had," "Forever" and "Over," and Eminem's new single "Not Afraid"). The video, directed by Edwin Decena, has jumped to the #9 spot today on BET's 106th & Park.

Red October will be co-executive produced by Diddy and Akon. "I'm so excited. I've got the best of both worlds," stated Red Cafe. "Diddy representing the streets and Akon bringing a worldly perspective to the project."

"Today, I can officially announce the signing of Red Cafe to the Bad Boy/Interscope family. Red's lyrical skill and passion is unique," says Sean "Diddy" Combs. "Red's raw talent brings a new sound and fresh perspective from the streets. I look forward to him sharing his talent with the world."

Ya Boy: Bay Area MC Finds Label Home With Akon's Kon Live

via the press release

LOS ANGELES, CA (March 1, 2010) – With over 45 million Myspace views, 37 million plays, dominating Southern California radio stations Power 106, KIIS FM, AMP with over 3,000 spins of hit single "We Run LA", opening up for artists such as Jay-Z, Taylor Swift, Sean Kingston and more serve as a brief rap-sheet for newly signed Kon-Live artist, Ya Boy. The record label is lead by internationally acclaimed artist and entrepreneur Akon. Ya Boy joins label mates Lady Gaga, T-Pain, Colby O'Donis, Kardinal Official and dynamic duo Rock City as the first artist from the west coast signed to Kon-Live. "Ya Boy is one of the hardest workers today…He's an amazing artist that never got a chance to shine. He never gave up and now he has a chance to shine not only on the West Coast but internationally," says Akon.

Catchy punch lines, versatility, eyebrow raising topics, witty wordplay combined with his no-color lines policy have helped garner Ya Boy aka YB The Rock Star widespread appeal. In 2002, he further gained notoriety from his song "100 Bars of Crack" where he rapped a 100 bars over Dr. Dre's "Nuthin' But a "G" Thang" also featured on The Black Wall Street Journal Vol. 1. In the summer of 2005 Ya Boy released his first solo mixtape, "Future of the Franchise" followed by the 2006 release of his debut album "Rookie of the Year ." The album featured collaborations with his Bay Area rap neighbors E-40, Turf Talk, Clyde Carson of The Team, San Quinn and more. The album's first single, "Step Ya Game Up", was produced by musical architect, Rick Rock. That same year, Ya Boy wrote and appeared on the Kevin Federline's rap album Playing With Fire allowing him to expand his horizon.

Seamlessly pounding the music industry's pavement YB The Rock Star secured his position on the West Coast in 2008, when he released the single "Holla at Ya Boy" produced by Cool & Dre. Successfully saturating the web with viral videos and music on hundreds if not thousands of multi-media stations across the globe.

Meanwhile, The Source Magazine featured him in the Unsigned Hype section, BET's Rap City awarded Ya Boy the mixtape of the week title, while XXL Magazine, Ozone and Hip Hop Weekly all co-signed him as the "Next To Blow." In 2009 Ya Boy released hit single "We Run LA" feat. Dr. Hollywood, the song is currently spinning on multiple radio stations throughout Los Angeles. "Ya Boy truly deserves this moment…We felt there's no one on an international level bigger than Akon. We're excited and happy to join the Kon-Live family," says Manager Mike G, Nitevision Management.

With multiple Ya Boy videos and mixtapes saturating the web, a total seven years of paying dues, Ya Boy will finally reap the benefits of his labor. Now that his path has been paved and recognized "It will impact music with a breath of fresh air," says Ya Boy.

Konvict Music Signs First African Artist To Music Label

via Ameyaw Debrah

Hiplife artist Sarkodie has been making a lot of headlines in recent times concerning his signing of a deal that would see him join world class artists on one of the fastest growing music labels in the world, Konvict Music. On Saturday January 6, Konvict Music Africa made it official by outdooring the fastest rapper in Ghana as the proud new signee on a label that seeks to tap into the rich and diverse music talent that Africa has, and projecting or promoting these talents to an international audience.

Answering questions from the press, Babs the President of Konvict International assured Ghanaians that the deal is real and together with the Konvict Music brand, he would make an international artist out of Sarkodie without changing too much about the artist. Babs cited the challenges of doing music in Africa and promoting it in the international market; with particular mention of the lack of support from fellow Ghanaians.

Sarkodie on his part said he was excited about the potentials of the record deal and hoped that everything would turn out right. He said that he has no doubts about Babs, and all he can do is to wait patiently believing that Konvict Music Africa would help him to achieve his dreams. It is however not clear whether Konvict Music Africa was or would be involved in the production of Sarkodie’s sophomore album, ‘Rapaholic’, which is set for release soon.

According Babs, who is a US-based Ghanaian entrepreneur responsible for the success story of Fubu Jeans and other businesses across Europe and America, Duncwills Entertainment, headed by ace radio presenter Dr Duncan remains as the managing label for Sarkodie. Babs was however quick to add that if the business of Duncwillls Entertainment hinders the business of Konvict Music Africa in any way with respects to Sarkodie, he would not hesitate to stop working with the label. According to Babs, Konvict Music Africa would operate in South Africa and Nigeria where their music industry is better structured.

Julius Ossom, A&R for Konvict Music Africa and also the publisher of Ghanamixtapes.com, hinted of an upcoming music seminar that would educate musicians and industry players about how to make the sector grow. The seminar would also serve as an opportunity to discover more talents for Konvict Music Africa.

Photos from the press conference here:
Konvict Music: Sarkodie signing press conference

Cyhi Da Prynce Listening Session In Atlanta For His Latest Mixtape

Def Jam/Konvict recording artist Cyhi Da Prynce held his listening session for "What Da Dec Been Missin Volume 2" presented by world renowned Greg Street on Friday, November 20 in Atlanta.

R. City: Artist and Songwitting Duo Interviewed

via BallerStatus

BallerStatus.com: You guys were songwriters before you own careers started taking off. How did you become involved in writing for other artists?

R. City: We got into the songwriting thing about three or four years ago because we wrote a song called "The Rain," back in seventh grade and we re-recorded it because everybody back home told us how good it was when we put it back out in the Virgin Islands. So we played it for Akon and he was working on his second album and did it. After he did it, everybody was coming up to us asking if we're songwriters, so we said "Yeah." Because at the time, we were broke.

BallerStatus.com: How did you get signed to Konvict Music?

R. City: We've known Akon for about six or seven years as of now and we're all good friends. At the end of the day, we did the deal Konvict because it made the most sense. He let us have full creative control because so many people would try to change us and put us into this box. We just rolled with Kon because he was friend for about two or three years before the deal and he was one of the few people who truly understood who we are, what we do, and what we represent.

BallerStatus.com: Do you feel that there's pressure to succeed because of all the success that the label has had so far?

R. City: We don't really get caught up in all the hype of clicks. Although we're signed to Konvict, no disrespect, but if Konvict were to start beefing with G-Unit or Ruff Ryder or whatever, we're not apart of that.

Read the full interview:
BallerStatus - R. City Explain Problems With Being Boxed In Musically — Talk Akon, Songwriting & Long-Term Goals

Lady Gaga 'The Fame Monster' Album Preview

via Showing Out

Bad Romance
(prod. by RedOne; written by RedOne and Lady Gaga)

The world has already been treated to this gibberish-fueled jam, which bops along with a sprightly kick, searing ‘80s synths and stinging metal snares. If you haven’t yet seen the absurdly sensational video for this track yet, click here and watch immediately. Then, watch the behind the scenes clip from the video. Watched them? Proceed.

Alejandro
(prod. by RedOne; written by RedOne and Lady Gaga)

This Spanish-tinged electro jam plays like a pseudo mashup between Ace of Base’s early ‘90s hits and a flamenco stomp. Over burning synths and bloopy keyboard flourishes, Gaga sings, “Don’t call my name, don’t call my name / Alejandro / I want you babe, I want you babe / Fernando / Don’t want to kiss, don’t want to touch / Just smoke my cigarette and hug / Don’t call my name, don’t call my name / Roberto” before repeating “Ale-Ale-jandro.” Spicy.

Monster
(prod. by RedOne; written by RedOne, Space Cowboy and Lady Gaga)

“Don’t call me Gaga,” she says at the beginning of this power-pop gem. “I’ve never seen one like that before. Don’t look at me like that. You amaze me.” Soon, the beat kicks in, with Gaga singing, “He ate my heart out” in full-out autotune mode. The song transforms into an angular, futuristic club smoker, with a beat that recalls that of “Just Dance,” only a shade darker.

Speechless
(prod. by Ron Fair; written by Lady Gaga)

This track takes the album in a completely different direction. Synths are nowhere to be found on “Speechless,” which sees Gaga channeling the spirit of John Lennon as she coos over a Beatles-esque piano arrangement. She sings, “I can’t believe you looked at me / With your James Dean glossy eyes / With your tight jeans, with your long hair / And your cigarette-stained lies” before launching into the emotionally-wrought chorus, “Oh boy, you’ve left me speechless / You’ve left me speechless / So speechless.” But the later in the song, the clouds part and sunshine peeks through as the melody brightens, taking on an optimistic tone that contrast her heartbroken lyrics. This is the track that will silence anyone that thinks she’s nothing more than a dance-pop princess.

Dance in the Dark
(prod. by Fernando Garibay; written by Lady Gaga and Fernando Garibay)

Gaga slips back into her icy pop persona for this ’80s-inspired tune, which rides on foggy synthesizers, a neck-snapping beat and fuzzy electronic vocal filters. “Some girls won’t dance to the beat of the track / She won’t walk away but she won’t look back / She looks good but her boyfriend says she’s a mess, she’s a mess, she’s a mess,” Gaga coos before launching into the chorus, “Baby doesn’t dance in the dark / ‘Cause when he’s lookin’, she falls apart.” Another dance floor-friendly glitter jam.

Telephone ft. Beyonce
(prod. by Rodney “Darkchild” Jerkins; written by Lady Gaga, R. Jerkins, Lashawn Daniels, Lazonate Franklin and Beyonce)

This track is the standout from the bunch, not because it’s an infectious tune with Billboard written all over it, but because it sees two of the world’s biggest pop stars going head-to-head on their debut collaboration. “Telephone” is a kiss-off to the persistent boyfriend that won’t stop calling your phone, with Gaga and Bey taking turns chewing out their man that won’t stop blowing up their cellulars. The song begins with a spidery keyboard line that gives way to a blinding pop backbeat, with Gaga taking first verse duties, singing, “Just a second it’s my favorite song they’re gonna play / And I cannot text you if I’m drinkin’ more Henny.” Soon, the power chorus kicks in: “Out in the club when I’m sippin’ that bub / No, you’re not gonna reach my telephone,” repeating a few times before Beyonce sasses her way onto the track and breaks it down. “By the way you blowin’ up my phone / Make me leave no faster / Put my coat on faster / Leave my girls go faster / I should have left my phone at home / Cause this is a disaster.” After Bey finishes tearing up her bug-a-boo, the track gives way the bridge where Gaga and Beyonce take a few bars together, with Beyonce singing, “Sometimes I feel like I live in Grand Central Station / Tonight I’m not takin’ no calls / ‘Cause I’ll be dancing” before the track rolls out into free-for-all duet between the two. Mark our words: this will be a hit.

So Happy I Could Die
(prod. by RedOne, Lady Gaga and Space Cowboy; written by RedOne, Lady Gaga and Space Cowboy)

Only Gaga could get away with this one, which boasts lyrics about her lesbian attraction to that “lavender blonde” and how, through all the tears and all the lies, she “touches [herself] to feel alright.” The dreamy pop confection floats on airy, brooding synths, with Gaga singing on the hook, “Happy in the club with a bottle of red wine / Smiles in our eyes ’cause we’re having a good time / Eh, eh / So happy I could die / Be your best friend, yeah, I’ll love you forever / Up in the clouds, and we’re higher than ever.” The track vacillates between the doe-eyed chorus and snapping verses, and while many might peg this as an ode to masturbation, it’s suggestive just enough to evade any criticism.

Teeth
(prod. by Teddy Riley; written by Taja Riley and Lady Gaga)

Gaga encroaches on gypsy-pop territory on this vamping tune, which chugs along with stomping drums, a sleigh bell jingle and blaring trumpets. Throughout the song, Gaga wails as she sings, “I need a man that’ll show me your fangs / Tell me something that’ll save me / I need a man that makes me alright (a man that makes me alright) / Tell me something that’ll change me / I’m gonna love you with my hands tied / Just show me your teeth.” This one closes out the album on a bold note, a sharp conclusion to a tightly woven collection of tracks.
(source)

Akon: Sydney, Australia Concert Goes On Without A Hitch

Akon with T-Pain as the show opener in Sydney, Australia at the Acer Arena on Tuesday, October 27, the day after the Melbourne concert melee (see story here.)

Photos:
Getty Images
Rex Features

Akon: Australian Concert Melee Leaves 18 Injured

via the Sydney Morning Herald as reported by Mex Cooper

Akon was performing when fighting broke out in the audience and outside the venue (Melbourne Australia's HiSense Arena.)

He told the audience it had taken him two years to play in Australia and he was not going to let anyone "f--- up" the gig.

The police spokeswoman said six people had reported being assaulted and she believed up to 18 had been injured.

Angry crowd members, who paid $125 to see Akon and fellow rapper T-Pain, have said they feared for their safety as security staff became outnumbered by the battling fans.

Read more of the story here:
Sydney Morning Herald

Devyne Stephens: Music Industry Artist Manager Video Profile and Interview

In this day and age, stars are not necessarily born. The ones who have the talent, drive, crafty viral campaigns, songwriting abilities, exude "Star Quality", a little luck and of course making good music, have a chance to make it as an artist in the music business. Devyne Stephens is one person who recognizes all these qualities and understands how each artist he works with fits in today's music market place. As CEO of Upfront Megatainment management company and Vice President of Konvict Music, Devyne Stephens currently works with the likes of Akon, T-Pain and Lady Gaga and earlier in his career at LaFace Records helped guide the careers of Usher and TLC.



Also a recent BallerStatus interview with Devyne Stephens:

BallerStatus.com: I know that you have been a big part of Akon's career. Tell me a little bit about your relationship with him?

Devyne Stephens: Me and Akon started out as friends and I would advise him on his career before we even got into the business. Before I actually signed him to my production company, I took him through the whole regimen of artist development. His development took a little bit longer because he had a very unique and diverse sound. It took a minute for people to gravitate to his style of writing and his sound. We became partners after the success and here we are.

BallerStatus.com: What is that you look for to develop an artist into a megastar like Akon or T-Pain? What does that process look like?

Devyne Stephens: Actually it's not just developing the art, but developing the human being. [We teach] them about life and different things, not just style and imaging and A&R and how to make records, but the overall makeover. Just really look for their drive and passion.

Read more of the interview here:
BallerStatus.com - Devyne Stephens

Learn more about Upfront Megatainment here:
Upfront Megatainment

(video courtesy of rollingoutTELEVISION)

Red Cafe Performs "Hottest In The Hood" at This Is 50 Fest Governor's Island NYC

This Is 50 Fest Governor's Island NYC Saturday October 3.

(video courtesy of spotcoffee)

R.I.P. Dolla

From the staff at Hooked On That, our prayers and condolences go out to family and friends who knew Dolla.

Red Cafe at the Harlem Lanes (video)

Red Cafe spotted at Harlem Lanes May 16.
'The Shakedown' coming soon on Bad Boy/Konvict.

Akon shoots "We Don't Care" video in Soweto South Africa

Shot in the township of Soweto, South Africa May 13 with Director Gil Green at the helm.

Akon in South Africa (video)

Press conference in Johaneseburg speaking about shooting his new music video in Soweto and promoting his Konvict clothing line.



Akon meets South African President Jacob Zuma on his recent trip.