Sha Money XL Bringing One Stop Shop Producers Conference To NY & More Revealed In Interview

via PMP Worldwide

PMP: How does it feel being back in the Def Jam building as an executive?

Sha Money: It feels reel good and it's a blessing. I'm ready to put that work in; I'm not caught up in the hype.

PMP: What are some of the immediate differences between your current exec position at Def Jam and when you were over at G-Unit?

Sha Money: Def Jam has a huge team of professionals compared to G-Unit which had about 3 or 4 executives. At Def Jam you have over 30 professionals who know what they're doing so I've got an amazing team behind me. I have a music mentor in L.A. Reid who is a real music dude not just an executive only.

PMP: Coming from the background of being a producer do you look at yourself in the same light?

Sha Money: Absolutely, I'm a music person and I tell people I'll handle all the politics that have to be done before the music but my music speaks for itself and it always will.

PMP: What specific artist projects are your priorities?

Sha Money: My priority is Juelz Santana. Right now it feels like his album will probably drop 4th quarter definitely this year. We're getting started right now and he got some amazing music. Were really just getting to the nuggets right now so its too early to build on the specifics but trust I'm putting my 100% all into it no doubt.

PMP: Do you feel any pressure as far as expectations in a time when Hip Hop artists are not selling as many album units compared to the heydays of G-Unit?

Sha Money: Nah I don't feel any pressure and if there was any pressure then I like it because I'm good at handling urgency and importance. L.A. Reid told me to get results and that's what I do, you have to remember I work with one of the toughest dudes in the business (50 Cent) so pressure is nothing.

PMP: Do you feel A&R executives need to do a better job at utilizing the Internet when it comes to discovering talent and/or finding quality music from producers and writers?

Sha Money: You definitely have to be active when it comes to working with digital technology. With the PMP for example I've been in the back office, listening to tracks and learning how ya'll guys whole model is setup which is real dope and efficient so I'm all about being on the cutting edge as far as the Internet is concerned.

PMP: What is the current status of the annual One Stop Producer Conference?

Sha Money: It's still going down but I put it on hold because of this new transition. I figured I'll have more power behind me so I'm going to have more people participating for the next one. I don't have an exact date locked in but it's going to be in the Fall and I'm bringing it to New York this year.

PMP: Was the change of venue location due to the recent political atmosphere out in Arizona?

Sha Money: Yea well we held the conference 3 times out there and it felt good and now its time take it to new cities and help new producers out. New York is live and they're ready for it. In Arizona and the rest of the West Coast they needed it so I did everything West Coast and now its time to come back East and New York is the best place to start it at.

PMP: Def Jam as a label brand was once synonymous with authentic street hip hop, do you feel your part of a revival by being offered your new position?

Sha Money: Absolutely and L.A. Reid recognized that in me and he wants the streets happy that's why I'm here. I represent for New York and all the great street music from around the world and it's our job to bring that rush.

PMP: What's your personal feeling about the current hip hop sound that's in the market now?

Sha Money: I think it scattered right now because there's not enough official releases so everything is spread out too wide and it makes it hard to get a grip on exactly what's going on. My intention starting out at Def Jam is to have multiple releases coming out each quarter instead of all these little bricks going on right now. Hi-Tek and Kwali just dropped their new project earlier this week on Tuesday so we need more Hip Hop releases overall in the business.

PMP: In regards to the New York market many accuse the DJ's of not supporting the local acts. Do you feel this is a fair assessment?

Sha Money: I think the DJ's need to be more than just DJ's and help pave the way they want the music to flow but at the same time I also believe the artists in New York need to step their game up. There are a few dudes out there that are really bringing it but just not enough.

PMP: Is some of the problem due to a lack of artistic development in the A&R sector of the business?

Sha Money: A lot of A&R's are not on their jobs and I can you tell that for a definite fact. Its not going down under my watch, I'm here to push the music as far as I can take it while I have this opportunity

PMP: From the Russell Simmons to 50 Cents and now yourself what is it about the Borough of Queens that produce so many successful entrepreneurs in the music business?

Sha Money: It's the water man! There are a lot of successful people that have come out of Queens from the artist level, executive level and DJ level as well like DJ Clue, Envy and Whoo Kid. Run DMC was the first Hip Hop group to take it to a platinum level so it's gotta be something in the water.

PMP: For the producers on the PMP, both established and new what advice would you give them?

Sha Money: Make sure you shop your music to a lot of people that got good ears. Make sure your shit is really hot and not be caught up in just glorifying yourself. Take the time to study the game and become a real student of the game; don't just jump into the business not knowing the history behind it or what's currently happening. Once you become a great student then you can graduate and become the teacher

PMP: In your opinion how should a producer be compensated for providing original production for songs that are released on Mixtapes/online promotional?

Sha Money: I think the producer should get his credit up because if he's not known he should use that as an avenue to say 'this is what I've done'. Nowadays you have Mixtape records that get heavy play and are as respected as the songs coming off of retail albums so use it as a reason to get your name out there. The artist will love it and in exchange ask for your name to be credited on the insert 'produced by...'you need that for your own personal branding.

For example there is a producer by the name of Nascent, he did a lot of mixtape work for 50 Cent and then he finally got his shot on 50's last album and that was due to the work he was putting out there and getting a buzz around his name. It's like 'ok you did that, shit was hot let me hear some more' so it's all about allowing people to identify with what your work is.

PMP: Are you still producing and will it be a conflict of interest to submit your music to projects your responsible for at Def Jam?

Sha Money: Nah I'm getting music from everybody, I'm too busy on the executive side to be in a good creative space so I'm focused on helping make Def Jam the #1 label as far as market share and selling a whole bunch of records this year and for years to come. I'm good at making music but I'm great at creating and building brands and making stars so I'm going to concentrate on what I'm great at right now.

PMP: Are you still working with G-Unit?

Sha Money: Yea that's my family, I still work with them in the studio and when its time to get it in. I speak to 50 at least once a week and the same with Yayo and Banks, those are my brothers.

PMP: The Lloyd Banks record 'Beamer, Benz or Bently' was released independently is currently enjoying 'major-like' success. With Hip Hop is there really much of a difference between the majors and their indy counterparts?

Sha Money: It's the same game because now there's only a thin line between being on a major and being independent. You got companies like E1 that are kicking more ass than some of the majors so it's really no difference, its all about when the money stops. The majors have more money than the independent labels but that's about it.

PMP: So if the Lloyd Banks project was on Def Jam once it started making real noise that's when the extra $1 million can kick in and people like yourself can take it to another level correct?

Sha Money: Exactly

The Roots 'How I Got Over' NYC Listening Session Report

The Roots How I Got Over on Island/Def Jam/Okay Player arrives June 22.

In attendance, L.A. Reid, Zoe Kravitz and the rest of The Roots crew. Check out the photo links after the article.

via the Boom Box

Last night, New York City was blessed by the legendary Roots crew beyond their nightly in-house band duties for 'Late Night With Jimmy Fallon.' The hip-hop band was hosting their first listening session at Legacy Studios for their ninth full-length studio album, 'How I Got Over,' an album reminiscent of 2002's 'Phrenology' with obvious natural progression.

"Contemporary" is the word that comes to mind when first hearing 'How I Got Over.' Not to suggest they've gone adult contemporary, but rather, it's the inevitable growth of a band who, after originally busting on to the scene with their crossover success, is now relishing in the collective genius of the entire group. Even friend and co-worker Jimmy Fallon was in attendance to support the Roots, eagerly awaiting to see what the select few in the media thought of their latest effort. 'How I Got Over' will undoubtedly be well-received, probably more so than 'Phrenology,' as the landscape of hIp-hop has significantly changed since then.

Here is the general rundown of 'How I Got Over':

1. 'Walk Alone' (feat. Truck North, Porn, Dice Raw, Mercedes Martinez):
This opening track follows a smoothed out intro and keeps the melodic momentum going in this neo-soul cut with former Jazzyfatnastees front woman Mercedes Martinez.

2. 'Dear God 2.0' (feat. Jim James, MOF):
This lead single is a reinvention of the Monsters of Folk classic 'Dear God,' only slightly darker and more intense than the original.

3. 'Radio Daze' (feat. Blu, Porn, Dice Raw, Mercedes Martinez):
A mellow Bass-heavy movement with Blu as the official scene stealer.

4. 'Now Or Never' (feat. Phonte Coleman, Dice Raw):
Modestly mature track with the quietly desperate hook, "Gotta get my shit together / it's now or never".



5. 'How I Got Over' (feat. Dice Raw):
The first leaked track and video off 'How I Got Over,' is jungle-tinged with jazz sensibility.

6. 'The Day' (feat. Blu, Phonte Coleman, Patty Crash):
This track resembles the 'Phrenology' cut 'Sacrifice' featuring Nelly Furtado, but with Blu's opening verse setting the stage for the whole song, as new school Roots affiliate Patty Crash provides a soulfully edgy hook.

7. 'Right On' (feat. Joanna Newsom, Sugar Tongue Slim):
Andy Samberg's girlfriend, pianist and singer/songwriter Joanna Newsom assists this thumping track with newcomer Sugar Tongue Slim, who sounds like a cross between Cypress Hill and the Pharcyde.

8. 'Doin It Again' (feat. John Legend):
A signature Roots sounding track, where John Legend sings the hook in a slightly rockier way than we're used to.

9. 'The Fire' (feat. John Legend, Rick Friedrich):
This keys-heavy closing track screams 'victory!' in its uplifting and triumphant production.

Bonus Cut #1:
A cypher meets posse cut amidst DJ scratched production, like the soundtrack to a schoolyard.

Bonus Cut #2:
Sugar Tongue Slim is on the hook and lends a verse to this song probably titled 'Hustler,' since STS repeats it throughout the cut along with "I hope my baby girl grows up to be a hustler."

Photo links:
Wire Image

With Sha Money XL Now At Def Jam Will 50 Cent And G-Unit Head Over?

via MTV

Queens is in the building — again. Sha Money XL has signed on to become the senior VP of A&R at Def Jam Records. The label has had such a rich history of Queens-bred fellas in the boardroom, from its founder Russell Simmons to Irv Gotti to one of Sha's mentors, the late Jam Master Jay. XL is excited to plant his flag in the cherished hip-hop recording house.

"I've been floating around this industry since I've just been executive-producing 50 [Cent]'s albums," XL explained Thursday at the MTV offices. "Freelancing, doing my own thing. I've been able to meet with L.A. Reid. We've been having some great conversations. Finally, the call came. It felt so good. Def Jam is such a strong company and strong roster. The staff is amazing. I felt it instantly. I knew that this is something I can do with my New York vision and New York swag and bring that for all the guys that's based out here. And the things that was needed to excite the industry as well, internally and externally. I connect with everybody by all levels."

Sha said that after being with the G-Unit for so many years, there is no such thing as pressure to him anymore.

"I work good under pressure," he said. "Working with 50, I know what needs to get done. I don't feel pressure. I do the things that need to be done. As long as artists listen and we really become businessmen in this business, as we say we are, I think we should all prosper. I'm looking to make the company more money and take it to the top, the highest level."

So with 50 Cent a free agent, free to bring himself and his label — which includes Lloyd Banks and Tony Yayo — anywhere he pleases, will Sha try to secure a spot for his longtime friends at Def Jam?

"I spoke to Fif, to [his manager Chris] Lighty. I would love to see that there," Sha admitted. "Banks has an amazing record right now, independently. If things work out, then yeah, I would love to see that happen."

If the Unit came to Def Jam, things would get interesting, to say the least. Shyne, Rick Ross, Nas and DJ Khaled, people who Fif and the Unit have had problems with through the years, are all on the roster.

"I'm a businessman," Sha Money said when asked how he would feel having the Unit in the same building with some of their adversaries. "The beef stuff, I'm over. We at a certain point in life where we don't even need that. We eat that. So I will let them speak for their own, but honestly, I would like to see a company continue to grow. And I think G-Unit is in a position — coming from an independent space — that can continue to do their thing. I would like to provide an opportunity for them to continue to grow."

While the Unit deal is just in the talking stages now, Sha says his top priority is making sure Juelz Santana gets his LP out. XL already has his sights set on DJ Toomp to get in the lab with Juelz.

Big Boi: Tonight's 'Sir Luscious Left Foot' Listening Session NYC

L.A. Reid & Big Boi previews some new cuts off the Island/Def Jam album 'Sir Luscious Left Foot: The Son of Chico Dusty.'

Lucian Grainge: Meet The New Boss (Universal Music Worldwide)

via Time Magazine

New York will have to get used to (Lucian) Grainge this summer when the 49-year-old takes over as head of Universal Music worldwide, the largest record company on the planet with a market share of nearly 29% and such acts in its stable as U2, Lady Gaga, Eminem and Amy Winehouse. Grainge has been groomed for the role for several years and says his fingers will remain close to the light switch. "It will depend if they have any hits or not," he tells TIME.

Paul McGuinness, the manager of U2, probably Universal's biggest single act, has worked with Grainge for decades. "Making it in the United States is the biggest challenge of all for any British talent in the music business. He will need all his intelligence and skill to pull it off," he says. At a time when many major acts are breaking away from Universal, U2 has stayed loyal to the label, in part because Grainge has earned the respect of the band. "Lucian's advantage is that he has got a strong musical record of his own, so his opinion on a song, as well as business, is taken seriously," McGuinness says.

In 1986, Grainge joined Polygram's songwriting division and gradually moved up the ranks at the company, which would later become Universal following a merger with MCA. Eventually, under the tutelage of Doug Morris, the Universal chief executive he'll be replacing, Grainge rose to run the company's U.K. headquarters and then its international operations. As EMI has faltered in recent years, he has become a key force behind helping British acts break into the U.S. market, most notably, the troubled (Amy) Winehouse.

Grainge's plans for his new position remain somewhat of a mystery. His approach emphasizes artist relations at a time when other companies would rather talk about formulating an effective digital-distribution strategy to combat music piracy. It's not that Grainge doesn't care about this issue — indeed, he wants the U.S. to become tougher on piracy. He says, however, that there is "no platinum-tipped magic bullet" to solve the problem. One thing that will help: forming a coalition of music, film and publishing companies to lobby both Congress and Internet service providers to enact tougher sanctions against music pirates. "English-speaking content has most to lose [from file-sharing]," he says.

Read the full article here:
Time Magazine - Will Universal Music's New Boss Keep the Hits Coming?

L.A. Reid Soon To Be Under Universal Music Group New CEO's Watchful Eye

via New York Post

Now that Lucian Grainge has officially been promoted to CEO of Universal Music Group, Island Def Jam leader Antonio L.A. Reid is going to be under increasing pressure to score some hits and rein in his "me-first" attitude.

As expected, Vivendi confirmed yesterday that Grainge will take over for Doug Morris at the industry's largest label, effective Jan. 1. The transition begins in earnest when Grainge moves from London in July for a six-month co-CEO setup with Morris.

While Reid has enjoyed a level of security and autonomy under Morris' leadership, more than a half-dozen sources inside or close to UMG told The Post that Grainge wants to see more hits, better allocation of capital to artists, and less self-promotion from Reid.

"All of the divisions are going to be put under a microscope when Grainge arrives in New York," said one UMG insider. "L.A. likes to flaunt himself -- and since he's not doing that great lately, he's going to get looked at especially hard."

Reid is in the middle of a cold streak, with a number of releases not living up to expectations, most notably the latest albums from Rihanna and Mariah Carey.

Rihanna's "Rated R" has sold just 2.5 million albums worldwide while her last album, "Good Girl Gone Bad," sold 2.6 million in the US alone, according to Nielsen SoundScan.

Another UMG source noted that Reid spent millions on an ill-fated attempt to transform Nashville singer Jessie James into a pop star.

Reid also has had the embarrassment of watching Jay-Z score one of the biggest hits of his career with "Blueprint 3," after leaving Island Def Jam, and having his internal counterpart, Jimmy Iovine of Interscope Records, develop Lady Gaga into one of music's brightest new stars after she languished for years under Reid.

Reid supporters dismiss the idea that he's gone cold, noting that Ludacris currently has the country's No. 1 single, while legacy act Bon Jovi and new act Justin Bieber have sold more than 3 million albums combined.

"L.A. Reid has continued to break acts and have great success with our established artists," said a rep for Island Def Jam.

Beyond his roster's performance, sources said Reid's "executive as star" mentality doesn't sit well with Grainge.

They suggested that Grainge might seek to put stricter controls on Reid's penchant for showcasing his wealth with private parties and extracurricular activities like filming his son's sweet 16 party for MTV and shopping a reality-TV show to cable outlets.

Sources said Reid's recent publishing deal between his Hitco Publishing Co. and EMI instead of UMG hints at his declining stature.

While some say UMG's publishing arm passed because it didn't want to give Reid equity, others said it was a signal that UMG has cooled on his side projects and has lost faith in his ability to produce new hits.