Dr. Dre HP Beats Audio Laptop Commercial

Dr. Dre's latest commercial immortalizing himself for his latest creation HP Beats Laptops. Also, the good Doctor gives us a taste of the maligned 'Under Pressure.'

For more info:
HP Laptops

Eminem Shoots 'Not Afraid' Video In New Jersey

via Metro Live Detroit

Detroit rapper Eminem just can't keep himself out of the media these days.

He just announced an ultra high-profile pair of September concerts with fellow hip-hop luminary Jay-Z and "Not Afraid," the fist single off his upcoming album "Recovery," debuted at number one in the Billboard Hot 100 today, becoming the 16th song ever to do so.

So it's no surprise that when Eminem is spotted anywhere, people make a big deal about it.

Such was the case when bystanders came across Em filming the video for "Not Afraid" in Newark, N.J. last week.

Dozens of videos made their way onto YouTube, showing the rapper wearing a black jacket and shooting several scenes around the downtown area of the city.

Eminem was reportedly shooting the video on May 5, but there is no word on when the video will be released or what the theme of it is.

"Recovery," Eminem's seventh studio album, will be released June 22.

Game 'The R.E.D. Album' Sneak Preview By Complex Magazine

Track by track preview.

"Infared" (prod. by Cool & Dre)

The Compton rapper’s forays into name-dropping have recently been hit or miss, but over Cool & Dre’s 70s funk-jazz-influenced instrumental, the album’s intro is a major hit. Game drops attention-grabbing lines (“Will I ever go at Nas? Hell nah! / Will I ever go at Jay-Z? I don’t know”) and doesn’t waste a second spewing his fully automatic braggadocio. It’s an instant head-nodding banger for a kickoff.

"Ricky" (prod. by DJ Khalil)

As the title implies, it’s a reference to Morris Chestnut’s character in John Singleton’s debut film Boyz N The Hood. A saxophone intro trails up to the congo drums in the backdrop, and the track leads off as a cautionary tale about 'hood violence—but quickly veers off into Game sucking himself off about how he remains victorious in front of gun claps. Gunshot sound effects, paired with the chanted shout of “Ricky!” make this one memorable...for its repetitiveness.

"Good, Bad, Ugly" (prod. by Hit Boy)

Grimy keys and dark drums play the backdrop for a storytelling joint. The saga begins with the former drug dealer getting ambushed by several hostile guests with heaters, then segues to a scene where two detectives question the injured rapper. The Game skillfully flips the tone of his voice, and weaves an entertaining verse when he refuses to cooperate, instead spinning out a story that's different from what actually went down. Straight gangsta sh*t.

"Heavy Artillery" ft. Beanie Sigel and Rick Ross (prod. by Street Runner)

The three self-claimed gangsters flex gun talk, murder, and their own craziness. Game even compares himself to Marshall Mathers (“Eminem ain’t Dr. Dre’s only sick n***a").

"Diamonds" ft. Robin Thicke (prod. by Phonix)

The version we heard featured an up-and-coming talent named K-Young, though we were told that the infectious hook would be re-sung by Robin Thicke (for the record, we didn’t mind the version with K-Young on the reference).



"It Must Be Me" ft. Pharrell (prod. by Pharrell Williams)

Certified 2002 (?) club banger!!! We had no idea P had a Delorean.



"Ain’t No Doubt About It" ft. Justin Timberlake (prod. by Pharrell Williams)

Justified x In My Mind x Game sounding a little uncomfortable with the terrycloth-soft vibe of the track. Nothing much else to say. *shrug*

"Mother's Womb" ft. Nelly Furtado (prod. by Pharrell Williams)

The title's kind of gross, right? Doesn't sound so hot, either. Game waxes poetic about all the gangsta sh*t he's been up to since he's left his mother's womb. What better way to do that than have Nelly Furtado ride shotgun? FOH. Skateboard P brings those Neptunes key patterns that sound like a throwback to his early chart-toppers, which is both a good and bad thing. The mix we heard was rough, but Furtado's vocals sounded good.

"She'll Look Good To Me" (prod. by Pharrell Williams)

This one is all about bakin' pies with a college chick. But not for her culinary class. As long as they're of age, we always co-sign corrupting co-eds.

"When My N***a Come Home" ft. Snoop Dogg (prod. by Pharrell Williams)

Game heads to the strip club with a close friend fresh out the joint. Pharrell provides the soundtrack for the celebration with a mix of luscious synth waves and deep, hard-hitting drums. Snoop name-drops plenty of fellow Crips, but in that nice and smooth way that doesn't offend middle America to the point that they'll revoke sponsorships.

"Dead People" (prod. by Dr.Dre)

Dre laces Game with a beat that sounds like it was left off 50 Cent's The Massacre (in the same vein of "I'm Supposed To Die Tonight"), and Jayceon takes the opportunity to steal 50's style, even sounding like him on the hook (a stashed joint he wrote, maybe?). Granted, he writes from an interesting perspective—at one point he goes into the POV of a bullet like Nas' "I Gave You Power"—but it stills come off as an odd fantasy about murder.

"It Must Be Tough" ft. Pharrell (prod. by Pharrell Williams)

Even though this was clearly unmixed and still has some reference vocals on it, it's still one of the clear highlights of the album. Typical baller sh*t we've heard before, but Pharrell stunts on another level and absolutely dominates on the ad-libs and the hooks. There's synths galore and heavy 808s that build back and forth (from low volume to high), and Game delivers a solid third verse.

"Roll My Sh*t" ft. Snoop Dogg (prod. by Pharrell Williams)

Some real G-shit, straight up and down. Game and Snoop are clearly in their element on this one. Pharrell brings his best Dr. Dre impression by using light, wavy synths reminiscent of The Chronic.

"Lost Ones" ft. K-Young (prod. by Cool & Dre)

Bonus cut that focuses on really dark themes of death and the molestation of his sister by his father. Fooled you, right? You thought it was some diss to Jigga, right? (source)

Eminem Receives 'Artist Of The Decade' Award Plaque In California

via Ballerstatus

In December, Nielsen SoundScan named Eminem the "Artist of the Decade" for selling more than 32 million albums over his career.

The rapper recently headed down to their offices to put up his award.

They sent us this picture of Eminem holding the award with Dr. Dre, Interscope head Jimmy Iovine, his manager Paul Rosenberg and Nielsen heads, Eric Weinberg and Chris Muratore.

Eminem will have a chance to add to his all-time sales number in June when he releases his new album, Recovery, on 22nd.

Just last week, the rapper dropped the first taste of what's to come via a new single called "Not Afraid." He premiered the track on his Shade 45 Sirius/XM station, during Angela Yee's "The Morning After" show.

Em confirmed that he's been working with a variety of producers for the album, including Just Blaze, Mr. Porter, Jim Jonsin, DJ Khalil, Boi-1da, Dr. Dre, and Havoc.

Hayes: Timbaland & Dr. Dre's New Artist Protégé DubCNN Interview

Dubcnn: When did your love for music first begin?

Hayes: From the first time I ever heard music, I was hooked. It goes back as long as I can remember. As soon as I heard music, I felt it in my blood and knew it was a part of me.

Dubcnn: So then, you knew from pretty much early on that music was your destiny?

Hayes: Hell YEAH!

Dubcnn: Coming out of Detroit, Michigan, whose sound(s) did you grow up listening to?

Hayes: Whoever I grew up around, who I looked up to, and whatever was going on around my (way), was my influences. I got my style from what was going on around me in my life, and what was going on in Detroit.

Dubcnn: Define what exactly it is that you do when you pick up a microphone?

Hayes: I just say it’s good, interesting, and I hope you all like it. I don’t know how to explain it more than that, but I really hope you like it!

Dubcnn: How did you actually manage to get two of the best producers in the biz, Dr. Dre and Timbaland, to take notice, and ultimately jointly sign you to both of their respective imprints; Aftermath Entertainment and Mosley Music Group, through Interscope Records?

Hayes: I've known Tim and Dre for a long time. Me and Dre was on Detox, and one day we was just chilling, we was sitting on the couch -- I don’t know if we was watching a football game or a basketball game -- and Dre was like, “Yo, I was thinking ‘bout signing you, you want a record deal?” I said, “Yeah, my nigga, YES I do!” And then, me and him was out shooting dice one night at Jimmy’s club, and Tim came in and asked us, “Hey, what the fuck are you guys doing?” And Dre said, "We were about to do an album together." And Tim said, ‘I’ll fuck with Hayes. Let’s do it together, we’ll make it huge, Dre!’ And after that, we started working, and it’s been going on ever since. I couldn’t believe it was happening.

Dubcnn: Damn, that's amazing! Now, as a precursor of sorts to your “official” solo offering, you just dropped your 3rd street-tape, The First 48. For someone who has not heard it yet, what would you say can be expected from it?

Hayes: I would say get you a copy, check it out, and let me know what you think of it. It’s available for free download on my website, www.iamhayes.com

Dubcnn: Oh, okay. So, have you titled your highly anticipated, forthcoming Aftermath Entertainment/Mosley Music Group/Interscope Records' debut yet?

Hayes: I haven’t titled it yet. It’s a work in progress.

Dubcnn: Will Dre and Tim be handling/sharing all of the album’s production?

Hayes: Dr. Dre will be doing half the production, and Timbaland will be doing the second half.

Dubcnn: Nice! Well, what has it been like working in the lab with these two studio geniuses/living legends?

Hayes: It’s been beautiful. They are both brilliant. They both have their own style, and they both come up with the craziest, most original material. It’s amazing.

Dubcnn: I bet! So, describe a typical studio session when working with Dre and Tim? Are they both very different when it comes to crafting in the lab?

Hayes: Great is great. You spell it the same way every night. There is no difference between great and great. They both do things that you wouldn’t hear or see. It’s always unpredictable. Exciting and unpredictable, always a pleasure.

Dubcnn: Are there any special cameo appearances to look out for?

Hayes: I love so many artists that I’m gonna take it how it comes. I know Dre and Tim got their own vision. I have a wish list, but it’s too long. I just love everybody that’s talented, and there are so many great artists I’m going to let it fall into place.

Dubcnn: What has been the key to your success so far?

Hayes: God. I don’t never make any choices on my own, I trust the eyes of faith. When you do that, it can go anyway. God is stronger than me, to take me where I’m going. I just sit back and let the Powers that Be lead me to where they want me to go. And then, everything always works out right.

Dubcnn: That definitely seems to be working in your favor! With that being said, what is your 5 to 10 year plan in entertainment?

Hayes: I’ll probably be doing whatever I love. And this is the crazy thing about doing what you love: If you ask the average person what they want to be doing in 5 to 10 years, they will probably tell you they want to do something they not doing. Why wait 5 to 10 years to do what you want to do now? You can do whatever you want to do, whenever you want to do it. I love music, and I love being creative. So, I’ll be doing something creative, and something I love, 5 to 10 years from now.

Dubcnn: Makes sense! Well, you've been on the road quite a bit lately with Timbaland, so what’s the live show element actually like?

Hayes: It’s like praying not to get booed! It’s like a constant prayer to not get booed off stage. *Hayes chuckles* I like performing. I’ll probably be an artist that performs with just a mic attached to me. I like to take the accessories away, so I feel like I’m really interacting with the people.

Dubcnn: I hear you’ve been writing and assisting with Dr. Dre on his long overdue, anxiously awaited DETOX LP. How much involvement do you have? What can you divulge or reveal about this top secret, years-in-the-making opus?

Hayes: I work with Dre everyday, that’s my man, so I don’t have nothing to reveal at all.

Dubcnn: Damn, more secrets! Well, are there any other mixtapes or cameos on others works to look out for from you in the meantime?

Hayes: No, me and Dre finishing the first single from my album. Be on the look-out for that in the next couple weeks.

Dubcnn: Do you have any closing thoughts?

Hayes: Yeah, Life is all about living. And, Life is short. So, do what you love and LIVE now! (source)

Busta Rhymes Heists Camera From Stat Quo In The Recording Studio

After hours while working on Detox, Busta & Stat Quo kill some time with some in studio antics.

Bishop Lamont Recording With John Mayer, Work On Angola 3 Documentary With Samuel L. Jackson & Doing Films

via Dub CNN

Since his departure from Aftermath in early January, it has been quiet around Bishop Lamont. That's because he's been working! Check out the new press release below about his latest projects with John Mayer and Samuel L. Jackson.

Bishop Lamont knows Drama. But that’s a good thing when it’s Drama from Rob Dyrdek’s hit MTV show “Fantasy Factory.”

“Drama did it — he’s a mega-producer who doesn’t get enough credit for his talent,” Bishop says as he listens to “Gone,” a new song featuring John Mayer that he cut on a recent stop by the Fantasy Factory. “E. Sanchez hooked it up and I just ran with it. I did it for the music, I just felt it, related to it and identified with what John was singing about. And, straight-up, John may have got controversial in a magazine interview but the dude’s no racist ... he was just bein’ crazy, damn, take a joke.”

Lamont stars in, and is a producer of, the upcoming feature “Fahrenheit 513” with Damion Whitaker, Bokeem Woodbine, Christian Audigier and Tom Sizemore, and he also did a track for a documentary on the Angola 3 that Samuel L. Jackson recently narrated, entitled “Land of the Free.”

“It’s a travesty that is a very, very deep cause for me,” Lamont says about the case of three innocent men, Herman Wallace, Albert Woodfox and Robert King, held in solitary confinement for more than three decades for trying to speak out against inhumane treatment and racial segregation. Lamont has befriended King, who was released in 2001, while Wallace and Woodfox remain in solitary. “It pained me that all I was able to contribute personally was a song — I want to do a whole lot more than that. I recently met with (fellow activist and entertainer) Harry Belefonte and we have a lot of work to do together.”

“My business manager, Damizza, had been trying to introduce me to Dave Stewart (of Eurhythmics fame), who is composing the score for both films I’m involved with.” Bishop continued. “Dave introduced me to his artist Nadirah X. She’s one of the most talented people I’ve ever met. She just blew me away; her music — her soul — pours through the speakers. I just heard her in my head on the John Mayer song. She felt it too — felt what I was saying in the song with my verses. I asked her to get on it and before we know it Dave’s stringin’ up his guitar ... it’s incredible. He played an outta-this-world solo using his diamond ring as a slide. I’d never seen, or heard, anything like it.”

“Oh, and for y’all thinkin’ I’m gonna say “Fu*k Dre” and diss him or Aftermath like every other artist that’s no longer there, you got me all wrong. Dre signed me after hearing a demo I ambushed him with at a video shoot and not only did he not blow me off, he was true to his word ... he listened to it. The next morning he was droppin’ my name on radio and became my biggest supporter. I sincerely appreciate his mentorship. He took the time and put a hell of a lot of effort into my artistry, when most people in his position don’t do that.”

“Now I’m guiding my own way and that’s what I’ve been training for all these years — and I can’t wait to start sharing my message and vision with the world.”

Producer Focus Constructs The New West Coast Sound With Dr. Dre's Approval In Mind

spotted on Crate Kings

The makers of West Coast Theory went in-studio with Aftermath producer Focus. The producer offers a peek into his recording environment and explains his approach to creating music, thoughts on software, and experience working with Dr. Dre.

Throughout the interview Focus illustrates his process of crafting a beat from working with the original sample to layering drums, recording, and playing live bass.

Relapse 2: Alchemist Spills The Beans On Eminem Working With DJ Khalil

DJ Khalil seems like the preeminent music producer that Eminem would go to. The LA based Khalil is on a hot streak + he's a in-house Aftermath producer, it only makes sense.

via XXL

Off the heels of his Grammy performance of “Forever” with Eminem, Lil Wayne, Drake and Travis Barker, XXLMag.com had the chance to chop it up with The Alchemist about Em’s highly anticipated new disc, Relapse 2.

While the disc does not have a release date as of press time, ALC says Em is hard at work in the studio with DJ Khalil. The West Coast beatsmith has had a big year, producing standout joints for Drake (“Fear”), Clipse (“Kinda Like a Big Deal”) and Slaughterhouse (“Cuckoo”).

“Khalil—who I think is like the best producer right now to me—he had been sending records to Em for a while that wasn’t like, they weren’t like clicking in,” Alchemist told XXL. “Em knew he was dope but they haven’t found the right one. And I think they found a couple joints now… the joints they have are crazy. I can’t say 100 percent [that he made the album], but I have heard at least two joints Khalil did and they’re fuckin’ stupid.”

Al, who serves as the Detroit lyricist’s tour DJ, revealed that he has yet to score a beat on Em’s project. “I’m starting to be around Em and the camp more,” he said, “especially finishing these albums. Factor in Em’s sober now, it’s like that’s my man, we chop it up a lot more now…it’s like little by little I’m figuring out what I have to do to create a sound that would be Alchemist/Eminem. I didn’t get it yet.”

One person that Em has been working a lot with is Just Blaze. Al gave XXL insight into their chemistry: “He clicked with Em,” he said. “It was really amazing, too. They really vibed and made some music, beyond like Just just sending him beats, it was nothing like that…I think it’s a perfect meshing of the two…If you could imagine what they could bring to the table at this point, it’s pretty close and maybe a little more.”

In fact, in ALC’s opinion, the whole album is a level above the first Relapse. “He’s doing things lyrically on this album that he hasn’t done before,” he shared. “The punchline game is really back.”

Bishop Lamont Post Aftermath L.A. Times Interview

L.A. Times: You were able to secure your masters per the terms of the severance agreement with Aftermath. What exactly is contained on those recordings?

Bishop Lamont: We’re about to finally bless the world with a lot of music. It got to the point where it wasn’t fair to the fans or to myself to have to keep on waiting. I understand that labels have obligations, but it was difficult to have fans coming up to you and asking when I was going to get a release date. There’s a lot of crazy records I got to take with me. There’s a J Dilla record that I got with the blessing of DJ House Shoes. Tracks from DJ Khalil, Lord Finesse, 9th Wonder, Mr. Porter, Focus, basically a who’s who of underground hip-hop.

L.A. Times: And tracks from Dr. Dre?

Bishop Lamont: Yes, there are tracks from the good doctor in there.

L.A. Times: What’s the status of your relationship with Dre?

Bishop Lamont: It’s as good as it’s ever been. In the course of the time it took to get out of the Aftermath contract, I never wanted it to cause our friendship to suffer. He's like my big brother. I understand that business is business, and I’m hoping to continue working with him in the future.

L.A. Times: What’s the plan for your next release?

Bishop Lamont: I’m going to put out “The Shawshank Redemption,” a mix tape with Bink and DJ Drama that will talk about what I've been going through.

L.A. Times: You’d been working on a follow-up to “Caltroit,” the sequel to the original collaboration with Black Milk. What’s the status on that?

Bishop Lamont: There was so much going on over the past year that it had to take a back seat. But we did a record called “Fat Gold Dookie Rope” that’s probably going to be one of the first singles off the new project that we release.

L.A. Times: At one point you were planning to release a tape called “No Country For Old Men,” in which you were going to take shots at West Coast veterans for not supporting younger artists. What happened with that project?

Bishop Lamont: Snoop actually reached out to me, which was really dope. I’ve known him since I was a teenager and his brother and I are friends. A lot of people thought it was a ploy for attention, but it was about older artists supporting the younger artists. Those guys are heroes to us and it’s important to carry on the tradition. But we had a heart to heart and he explained that he’s willing to support all of us, which you can see now.

It’s important to keep the West from falling into the standard boxes you think of when you think of West Coast artists. There’s a lot of talented people out here who don’t get the shine they deserve: Pac Div, U-N-I, Med and Rocc C and Oh No from Oxnard, and a bunch more I’m forgetting at the moment. I’m liking the direction we’re going in, but there needs to be more unity and I’m in a great position where I can lead by example and move at my own pace.

L.A. Times: You’re not the only West Coast artist who has had difficulty getting a major label to release your record. At the moment, Glasses Malone, Nipsey Hussle and Jay Rock have all been able to land singles on Power 106 and still don’t have a release date in sight. Neither do Pac Div. What do you make of that?

Bishop Lamont: It's ridiculous. Nipsey's been doing his thing, Jay Rock had a hit song with Lil Wayne and will.i.am. and no one can get a release date. People sometimes get it twisted that I hate the skinny jeans kids, but that's not true at all. I love that The New Boyz are speaking for kids their own age in a way that hyphy never had the chance to do. But none of the labels are giving the West Coast artists a chance right now, they're busy trying to figure out a new design for the business -- all of a sudden the machine they created is working against them. That's one of the reasons why I'm working toward getting Diocese Records off the ground.

I'm trying to build a label for everything from rap to R&B to jazz to alternative rock to country. We're trying to do everything in-house, with videos done by DJ Skee and Matt Alonzo, and radio and Internet promotion done right. Artists would come to me when I was at Aftermath and I told them that their best bet was to avoid signing with a major. They thought I was hating, but the labels want to give you 360 degree deals and take all of your publishing and your merchandise and publishing. If an artist can sell 40,000 copies on their own, they're rich. If they sell 40,000 on a major, they get dropped.

L.A. Times: What's the status of your own album, "The Reformation?"

Bishop Lamont: It's almost finished. There's so many records, but I've had the blessing to be able to sit with Ram Dass lately in Maui, and the books he's given me and the things I've learned have been so dope. I'm almost overwhelmed. It's hard to know where to begin. I've been sitting down with so many amazing people lately and learning and evolving so much, that's it's just crazy. There's nothing better than being able to have my freedom. (source)

Dr. Dre: Vibe.com Gives 7 Reasons Why 'Detox' Won't Come Out In 2010

1. The Man Has Product to Push

From headphones to soft drinks, Dr. Dre is reaching out to a new audience that would have probably been picketing him a decade ago. Forget gin and juice, Dre has Dr. Pepper and $300 Beats by Dre headphones to sell. Who needs to push an album when they can make endless cash on products with their names on it? Remember George Foreman’s grill.

2. The West Coast as a Lot of New Blood Emerging

Nipsey Hussle, Jay Rock, Pac Div, Problem, and Terrace Martin are just a few of the fresh talent coming from Cali and they’re not only gaining a solid following but the architects of West Coast rap are welcoming them as well. Snoop Dogg has worked with Nipsey and legendary West Coast MC, Kurupt is letting Terrace Martin produce the majority of his next album, Street Lights, expected to drop this year. Dre doesn’t have anything to prove but he may be watching to see how the public responds to the new sound coming from the west coast.

Read the other 5 reasons and the full article here:
Vibe - 7 Reasons Why We Knew Detox Wasn’t Coming Out in 2010

Musician Chin Injeti Gets Big Name Production Credits w/DJ Khalil

via Vancouver's Straight.com

Local producer Chin Injeti and his L.A.–based partner, DJ Khalil, were responsible for some of the sounds on Til the Casket Drops by Clipse. In fact, the duo produced the first single from the new record, “Kinda Like a Big Deal”—which also features Kanye West. The team also scored a production credit for “Could’ve Been You” on 50 Cent’s Before I Self Destruct.

“It’s been an exciting year,” Injeti told the Straight, fresh from a trip to L.A. to put the finishing touches on his and Khalil’s album as the New Royales. “Khalil is signed to Aftermath Entertainment, so he’s quite an up-and-comer, and whenever we do something, it gets played. We’re synonymous with a certain sound.”

Stat Quo To Be First Release On Sha Money XL's New Label

In more new label venture news, Sha Money XL inks a deal with digital enterprise The Orchard. Stat Quo's long awaited 'Statlanta' will finally surface through Sha's Dream Big Ventures.

via XXL

Sha Money XL, former president of G-Unit Records, recently signed a multi-million dollar music and film distribution deal with The Orchard, launching Dream Big Ventures.

As it’s first project the new brand will debut the album Stantlanta from rapper Stat Quo. The first single for the project, “Freaky Girl,” was released today. They’re also working with DJ Whoo Kid and New Orleans’ Kidd Kidd.

“The first three projects coming out of Dream Big are very realistic reflections of the three stages an artist can find themselves in,” Sha Money explained in a statement, “established and successful, in-between labels or ready to take your career to the next level.”

Their Web site, Dream Big Ventures is also expected to service the music industry by acting as a Craigs List for up and coming artists.

Sha Money recently worked as associate producer on 50 Cent’s Before I Self-Destruct album and continues to co-manage Reflection Eternal who are expected to release an album early 2010.
(source)

Dr. Dre: Classic Interview Unearthed

Street Hop caption:

On January 20, 1997, Dr. Dre was interviewed during the production of the feature documentary Rhyme & Reason. Only a small portion of this interview has ever been seen by the public.

The following is the entire in-depth interview with Dr. Dre, where he discusses his work as a producer, the record business and rap's music past, present and future.

This is a full half hour long Dr. Dre interview from 1997 with Dr. Dre talking about West Coast Hip-Hop and his own ground breaking albums as well as the East/West beef and music business. The interview is followed by all of Dre’s classic Death Row era video clips.

(spotted on Crate Kings via Street Hop.)