Dr. Dre Behind The Scenes Of 'I Need A Doctor' Video

via Aftermath

Director Allen Hughes gives a behind the scenes look at the making of the video from Interscope Records and shares what it’s like to work with Dre and how the video was conceptualized.

Erykah Badu Shares Her Personal Experience Performing At Coachella 2011

Erykah shares her thoughts, thanks and praises of the music festival known as Coachella where she performed on Saturday, April 16th.

Check out the photo links of Ms. Badu performance at this year's Coachella Music Festival:
Wire Image
Film Magic
Getty Images
Zimbio

(video courtesy of DJ A1)

Raphael Saadiq Talks Upcoming Album 'Stone Rolling'

Raphael Saadiq's upcoming album Stone Rolling on Columbia Records arrives May 10th.

Bei Major: Songwriter, Artist & Producer Interview

via the Seattle Post Intelligencer

SPI: Although you started producing at the age of 16, I found it very motivating that you were able to juggle this career during your time at the University of Michigan. How challenging was it to balance school work with your production work?

Bei Major: Well first, thank you, bro, for that. That means a lot. I'm working a lot on just trying to keep everything going, so it's cool just to have these opportunities. So thank you for that.

As far as the college thing, that was the best time of my life. It was just the craziest experience, because on one end, I was at the University of Michigan, which is a prestigious school with all of these kids coming from around the world to go there. Then I had a whole other life of doing music. So I literally would be coming off a plane from Vegas to L.A. and going to midterms. Like leaving after school, going and working with some pretty big artists. So that was cool. I had to practice in my dorm room. I had all of that. It was like two worlds meeting at once, which was amazing.

Honestly, I'm trying to think if there's anyone who has had that exact experience and I can't think of it, because it was just so weird. Not that I was on the top level of either side, but just doing them at the same time was really strange. College can be like a full-time thing, and then doing music can be also a full-time thing, so I feel like I probably didn't sleep at all for those couple of years. But it was cool. It worked out. I learned a lot about balancing. I learned a lot about discipline. I learned what it takes to really go after something that you want to do. That was the main thing, to learn from that and just being able to meet so many cool people all over, travel and just really be able to do it all. It's awesome.

Read the full interview HERE

Sean Garrett Talks With American Songwriter Mag

AS: You’re earned the nick name of “The Pen.” Do you actually write with pen and paper?

SG: Generally I don’t. Generally I don’t write with paper, I just go in the booth and start singing and record. It’s very seldom that I’ll write with paper, but Jay-Z named me “the pen,” so sometimes I have to use the paper. [laughs]

AS: What’s your songwriting process is like?

SG: It’s a very emotional type of process, depending on what my mood was like at the time has a whole lot do with where I come from with the music. Most of the time I’m in a loving mood, but if I’m feeling aggressive, if people have been pissing me off, then I’m going to make up tempos and make people dance. I love to make people dance, it’s how I take the energy if somebody gets me a little upset, or if I feel challenged or something like that — then I go in and really take time to find a really incredible up tempo beat and make a really great up tempo club record. I take all the emotions of negativity and turn it into something positive.

AS: When you’re writing, what do you draw inspiration from?

SG: I draw from love, I draw from different people’s relationships, I draw from the things that I see. Sometimes it’s the things that I feel, and sometimes its the things that I think, and my songs are basically a perspective of something that I’ve seen and I give my opinion of it in the song.

AS: For your sophomore release, you’ve got this upcoming album, Courtesy Of.

SG: Courtesy Of is coming later on this year, right now we’re putting out my mixtape album which is called The Ink Well, it comes out and I’m really, really excited about it, it’s got a crazy amount of great features on it– Lil’ Wayne, Drake, Nicki Minaj, Yo Gotti, Bun B, Soulja Boy, Fabolous, and it’s hosted by my man DJ Green Lantern, it’s ridiculous, so I’m really excited about that. The Courtesy Of album is on the way as well, coming later this year. I’ve got a lot coming out, I’m doing a lot internationally as well, so I’m really excited.

Read The Full Interview Here

Miguel: Pop Eater 'About To Pop' Interview

PE: How would you describe your sound?

Miguel: I would describe my sound as fly, futuristic, intergalactic freedom fighter rogue ill s---, on steroids [laughs]. No, I would describe my music as being honest. The sound is probably a mixture of funk, hip-hop and classic rock.

PE: Who are your biggest musical influences?

Miguel: Right now my biggest musical influences include Kanye West, Francis and the Lights, another band called Dom, Passion Pit. I always listen to J Dilla, anything he's done has been amazing, so Slum Village. Frank n Dank, Steve Spacek. Cameo is still also a huge influence on my music. Queen, and Prince.

PE: How have your past relationships influenced your songwriting?

Miguel: How have they not? I base a lot of my material on actual events. I can't think of a single song that is not based on some truth that I've lived. I think that's what makes my music stand out, because I think the honesty is apparent.

PE: What's the idea behind the futuristic video for 'All I Want Is You' and the cyborg girls?

Miguel: I wanted to accomplish something that was nostalgic, in the sense that there was familiarity in the setting, but have an intelligent twist to the video with the futuristic flair -- it mimics the vibe of the song. When you dissect the song, the '90s-era hip-hop drums, which represent the familiar, are juxtaposed with the delivery of the vocals, which are a more classic rock approach to typical R&B delivery, which I wanted the video to mirror. Alex Moors did an amazing job with it, so shout out to Alex Moors.

PE: Who would you like to collaborate with next? Are there any producers you'd really like to work with?

Miguel: I can't wait to spend a lot of time collaborating with my brother. I mean this when I say it -- he's going to be way better and doper than me at everything. That's what we want, right? For our siblings to be better? So I'm excited to collaborate with him, because his ideas, musically and lyrically, are really beyond me sometimes. We obviously have a close personal relationship, but on a musical level, he knows my taste, he knows my instincts and he can take that and run with it.

Aside from my brother, I'd love to work with Flying Lotus, Trent Reznor if possible, Kanye West, No ID, Dr. Dre, the Neptunes and many more.

PE: How has your life changed since you got a record deal?

Miguel: Honestly, that's kind of a trick question. My life didn't change that much when I got a record deal, but now that my first single is starting to get some recognition, being played in different markets and whatnot, not to mention the videos on MTV and VH1, it's kind of cool hearing from people who really like the music and dig the sound. They go out and dig for my other music and give me such great feedback. (source)

Needlz: iStandard Music Producer Interview

J-Hatch from iStandard takes a moment to interview producer Needlz at his new studio in Atlanta, GA.

Perez Hilton Friday Morning Quarterback Interview

Like him or not, Perez Hilton is very influential in the entertainment industry and more importantly the public. He can move and sway anyone's career with the push of a button.

It's rare to see Perez in an interview with a music industry trade magazine like FMQB, that's why it's worthy to post up on this site.

FMQB: How and when did you decide to enter the blogosphere?
PH: I didn’t really decide. I just did! I discovered the world of blogging and it seemed fun and easy to me. I started blogging in September 2004 and didn’t put much stock into it. I never intended to do it fulltime and I didn’t think many people would read it. I wasn’t even sure if my friends would read it. But it seemed like fun and something new and I started to do it, and here I am six years later. I still pinch myself that everything that’s happened is a result of my little blog.

FMQB: What sets your blog apart from others?
PH: What I think sets my site apart is I don’t want it to be a very personal thing. Before me most people used blogs as online journals. It was very first person, like a diary. But that had no interest to me because I would rather talk about celebrities. They’re far more entertaining, and as is perfectly evident by Lindsay Lohan. A lot of them are hot messes, and I love a good hot mess!

FMQB: Is there any artist that we should be on the lookout for who excites you?
PH: Mike Posner is one definitely. His album comes out in August and I’m really looking forward to that. I’m also loving this singer named Katerina Graham, who released this song I love called “Sassy” and I heard some of her other music and I’m loving it. It kind of reminds me of Janet Jackson. There’s a modern day Madonna, and she’s Lady Gaga, but there isn’t a modern day Janet so I’m excited to see what else Kat Gram does. I also love Marina & The Diamonds. That will be a challenge to see if American radio will play her. She’s not as accessible as Kat Graham or Mike Posner. Marina is a British singer who is kind of like a Regina Spector or a Tori Amos. But I love her and I think she’s so phenomenally talented.

Read the full interview here:
Perez Hilton - FMQB

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

George Robles: Rocawear’s Creative Director SoJones Interview

SoJones: So what’s a typical day like for a creative director for Rocawear?

George Robles: A typical day for me is never typical. For example, I may have to come up with a theme for the new collection, which involves a new color palette, graphics, denim washes, labels, and overseeing my team of designers to make sure we’re all on the same wavelength aesthetically.

It could also involve travel to another country to oversee production of the collection, choosing fabrics, or a dozen e-mails and phone calls from people with questions that have to answered in a timely manner. Deadlines can be gruesome and keep you working around the clock.

My job changes from day to day & being able to multi-task and stay focused is a must.

SoJones: What two celebrities or music artists are just on point with their fashion game right now?

George Robles: Jay-Z is the inspiration behind every Rocawear collection and he’s definitely on top of his fashion game right now. From his denim to his suits, he is an all around fashion icon.

Kanye West for his individuality and his growth in the fashion game. He mixes all types of fashion up and still pulls it off with a cocky swagger that makes people follow his lead. He still represents hip-hop fashion but he has taken it to a higher level creatively, which is something that I respect as a designer. Not just anyone can get a deal to design for Louis Vuitton and star in the ad campaigns. That is just not heard of…

Read the full interview here:
SoJones - George Robles

Lauryn Hill On The Possibility Of New Music With The Fugees

On Monday night (April 19), Lauryn Hill was supporting an event for the Tanzania Education Trust in New York City and hinted about recording with the Fugees. Ms. Hill states she's very excited about some ideas that could possibly, perhaps bring the group together. Whether with the Fugees or even solo, it would be a treat either way.

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)

Cypress Hill Go Classic With CS&N Sample, Pitbull & Marc Anthony Get Involved

via Canoe

Nobody could have predicted Cypress Hill would have a radio hit in 2010 courtesy of Crosby, Stills and Nash classic, Suite: Judy Blue Eyes — not even the West Coast rap veterans themselves.

But indeed they do, as Cypress Hill’s latest single, Armada Latina — which is fuelled by the CSN song’s guitar harmony and Spanish-language-chorus ending — has created buzz leading up to today’s release of the group’s first studio album in six years, Rise Up.

“It’s strange we get radio hits every five years or seven years,” said Cypress Hill’s lead rapper B-Real in a Canadian newspaper exclusive with QMI Agency.

“We’ve had success somehow without so much radio. But the airplay that we have had was significant with Insane in the Brain and after that we didn’t have another one that was massive until (Rock) Superstar came (in 2000). We’re not, by nature, a radio group. We get it when we can get it.”

The idea to use the Suite: Judy Blue Eyes sample came from Armada Latina’s producer Jim Johnson, who suggested Miami rapper Pitbull (You Know You Want Me) and Latin pop artist Marc Anthony also appear on the track.

Pitbull wasn’t a stretch, but Anthony’s involvement seemed unlikely.

“I didn’t believe that Marc Anthony would get on the track with us; that’s a little to the left,” said B-Real. “But he ended up being a fan and he ended up coming to the studio and taking the track over the top. It far exceeded what my expectations of it were and now there’s a big buzz on it so you can’t complain about that. It’s something you can’t anticipate and sometimes those are the best things. Our sound is usually really dark and gritty and underground. This particular track is not that. We take chances and sometimes we win.”

CSN’s Stephen Stills, who Cypress Hill met at the 1994 edition of Woodstock, even showed up to play guitar in the video for the song.

“He was talking to (Cypress Hill rapper) Sen Dog and myself and telling us how he was influenced in writing that original song (about his then long-time girlfriend Judy Collins),” said B-Real. “And that he loved the song so much and he was glad that somebody finally actually came and used it in the way that we used it. When you grow up listening to all these different types of genres of music, and you meet one of the people you hold in high regard, and he likes your s--t, that’s the craziest thing ever.”

The long break between Cypress Hill albums was due to the fact that the group had wrapped up their previous deal with Sony and had no pending deadline. They have since signed to Snoop Dogg’s Priority Records, distributed by EMI.

B-Real previously toured with Snoop Dogg, as is the case with many of the guests on Rise Up — including Tom Morello (Rage Against The Machine, Audioslave), Mike Shinoda (Linkin Park) and Everlast.

In fact, Everlast was responsible for adding lyrics from The Doors’ 1967 classic Break On Through (To the Other Side) to the song, Days Destroy The Night,

B-Real — who played with guitarist Robby Krieger in a band called Camp Freddy, met keyboardist Ray Manzarek at an industry function and got to know John Densmore while playing congas on a version of Riders on the Storm that the Doors drummer was producing — said he has nothing but respect for them.

“They knew who we were and they knew we appreciated their music and we’re big fans,” said B-Real. “They’re really open-minded when it comes to attaching where their music goes to, like how they brand it, with whom they brand it.

“They’re some cool dudes. I can’t say nothing but praise for them. I mean, those artists of that time are open-minded to what this is and to what we do. And that’s the great thing, seeing that Stephen Stills and The Doors collectively were open-minded enough to let us borrow from the existing vibe. Adding our vibe to theirs, that was the coolest s--t ever.”

Game Lines Up An All-Star Production Cast For 'The R.E.D. Album'

via MTV

Game said he got just about everybody he wanted for his upcoming The R.E.D. Album — he has some of the finest tracks featuring guests from all over the hip-hop hemisphere.

"I feel great about this album," he said recently after going over tracks at Dr. Dre's house. "It's back full-force Aftermath and I'm conjoined with Star Trak." (Pharrell Williams is one of the LP's executive producers.) "I got this colorful movement over here where it's beautiful music on this side [with Star Trak] — then when I need to go dark or super grown and sexy, I got Dre over here. The combination is crazy — mixed in with a Cool & Dre track and RZA track and all the sh-- I been doing. The only person I'm upset I didn't work with on this album is DJ Premier. I feel his sh-- would have been perfect for this all-star producer cast that I have. One Premier track would have did me just fine. I would have murdered that sh--. But we ain't get it in, 'cause he was doing a whole bunch of sh-- for Christina Aguilera. I'm just Game. So I gotta just wait for the next album."

The Compton MC said he lets the fans know from the start of the album that he's not playing.

"They got the intro to the album, which is titled 'Infrared,' " Game said of Cool & Dre. "It's one of them joints that Shaheem (Reid) is gonna love. All the real hip-hop fans, to hear me rap, how I'm rapping on my intro, it's gonna f--- people up. Before you get to #2, you gonna already know I'm serious. I'm spitting. I go in. I done played this for RZA, Dre, Pharrell — all the people who heard this is like, 'N---a, that's crazy!' I haven't spit like I'm spitting on the intro since '300 Bars.' I touched every topic. Everything involving me, I touched."

We'll get a prelude to Game's work with Cool & Dre on a song called "Shake," as it's one of the highlights on his upcoming Gangsta Grillz mixtape with DJ Drama, All Red Everything. Game tells a mayhem-filled story over the beat that incorporates the looped word "shake" throughout.

" 'Shake' is bad, man," Game said. " 'Shake' is crazy. Cool & Dre brought it in and I went through the 'shakes.' I told the story, cutting myself off right before the 'shake' came in [on the track]. I didn't write none of that down. I went in and said the whole sh-- straight through.

"You know what it is about them?" he asked about Cool & Dre. "They are more like my brothers. I can go in with the any moment and make a song. The streets is gonna f--- with it."

J. Cole Performance & Interview At SXSW 2010 Austin, TX

via Billboard

Rah Digga On Working With Producer Nottz "I Couldn’t Even Hear Anybody Else On The Album"

via XXL

Former Flipmode Squad member Rah Digga recently chopped it up with XXLMag.com about her upcoming album, Classics.

The disc—her first since her 1999 debut Dirty Harriet on Elektra Records—is expected to drop this summer, through indie imprint Raw Koncept.

“It’s all Nottz production and all Rah Digga rhyming,” the femcee confidently told XXL.

This is not the first time the two have been in the studio together. Nottz, who has worked with everyone from Scarface to Kanye West to Snoop Dogg, was responsible for producing a handful of tracks off Dirty Harriet.

“A guy by the name of Lucas [from Raw Koncept] said you need to let Nottz do the whole album,” the New Jersey native said. “And we argued and went back and forth, you know, I just couldn’t see it at the time…As we started recording, by the time I got to that tenth song, it got to the point where I couldn’t even hear anybody else on the album.”

Digga recently dropped the guitar driven track “Warning Shots” last month. She plans to follow it up with her first official single from the album, “Who Gon’ Check Me Boo?”

Jimi Hendrix 'Valleys Of Neptune' Catalog Re-Issues Bonus DVD Inteview Clips

Eddie Kramer, Chas Chandler, Noel Redding interviewed on each Jimi Hendrix LP from the studio, part of the bonus material from the Sony/Hendrix Experince re-issues released this past Tuesday, March 9. Video posted by Sony Music Germany.

Sen Dog Of Cypress Hill Interview

via Crave Online

CraveOnline: Rise Up has a huge sound with a motivated energy behind it - was there a specific mindset you went in with for the record?

Sen Dog: We didn't want to go in any direction, really. Been there, done that. We've done the conceptual album. I just wanted to go into the studio & bang out the songs, know what I mean? Like old times. It's fun for me, its fun for us as a group. There was no hangups on trying to recapture any sound or rock a particular style or mood, like "oh, this song is too happy". We rolled with it.

CraveOnline: Any favorite tracks on the album?

Sen Dog: My favorite track switches every couple of days. My favorite right now is "Shut 'Em Down," produced by Tom Morello. It's got that biting quality of Rock n Roll, but also the street quality of Hip-Hop. That's one where I can picture one big massive moshpit going off.

CraveOnline: Last year at the Smokeout festival, B-Real had a joint that had to be a foot and a half long, at the least. I was standing in the photo pit, right at your feet, and I couldn't believe he was pulling from that thing for half the show and staying conscious - especially with his professed loyalty to the indica strains. Was that thing real?

Sen Dog: Yeah that was very real. I've seen my friend do some crazy stuff before, but that was out there, man. He was like "it's the Smokeout, we gotta make a statement!" and so on, and I said alright man, let's go then. I think it lasted like a week.

CraveOnline: Will we see another Smokeout in 2010?

Sen Dog: Definitely. The Smokeout is something we definitely want to continue. We had to put the whole operation on for a minute as we reorganized the whole mothership from the floor up. But now that we came back with the last one and it was successful, we're going to continue coming back. And honestly, I think this next one's gonna be bigger than the last one. But I can't give it away just yet.

CraveOnline: How's the new deal with Priority Records?

Sen Dog: It's going great, man. It's going really good. Of course, Snoop Dogg is involved, and that was one of the key elements for us in that they've got one of our guys... - you understand what I mean when I said 'one of our guys' - but we're excited, man. It's a great position to be in. This new album, new label, and they're excited to push this record and make the best of a great situation.

Read the full Sen Dog interview here:
Crave Online - Sen Dog of Cypress Hill

Jack Splash: Producer, Songwriter, Artist Interview

via Sheena Beaston

SB: So what are you doing down in Miami now?

JS: Um, I’m from LA originally and I moved out here I guess about 4 years ago now and it was only supposed to be a one year thing, like a working vacation type thing. But, I love it. I love the weather. I’m a beach dude, like that’s why I don’t love the snow. I just like the warm, tropical weather. Yeah, like this year’s been a little bit cold, but other than that, I love the weather and I’m a workaholic. And I live right on the beach so I can wake up and go swimming in the ocean, right on the beach.

SB: So you’ve been putting out some mix tapes in anticipation of the full length that’s coming out. Do you have a release date for the full album yet?

JS: Well, I had so many people on it that I had to get all the clearances, you know, all the label politics. But it’s coming out in May, I don’t have the exact date. The main reason I was putting out the free albums, and I call them the free albums because they’re really albums, you know what I mean, but the reason I wanted to do that, the first were more hip-hop based and on the new one I’m not rapping at all, it’s all singing, but I wanted my American people to know kinda where I come from so when the big album comes out or whatever, I didn’t want to come out of left field. I wanted the people to know, here’s my history, and it’s easier to tell those stories through hip-hop, you know what I mean? So, I’m not rapping at all on my real album. Lupe (Fiasco) is on it, and Missy (Elliott) and other people are doing the rapping part.

SB: That’s what I wanted to ask you. How much of the album then is you and your voice as opposed to the guests? Because I know you have a great lineup of people set to appear on the album...

JS: It’s still 90% me, you know? I guess the important thing is that I made the entire album on my own first. Our Plant Life stuff was like demos to me. I mean, to be honest and frank, I was drunk and just having fun and living life and documenting that in songs. So I didn’t really produce it, I wasn’t trippin out on how my vocals sounded, you know it sounded a little fucked up but it was supposed to sound a little fucked up. So I made the entire album on my own first, there was nobody on it. And it wasn’t until I finished and made this little animated movie with Cee-Lo and I was like, you know what, I really want to bring, I mean I know it sounds crazy, I hope this doesn’t come out as a bad quote, but I really wanted to kind of try and do what the Beatles did with Sgt. Pepper where it was all them but they brought in this really beautiful cast of characters to come participate in their little psychedelic world. So that’s really what I did.

Read the full Jack Splash interview here:
Sheena Beaston - The Royal Reign of Sir Jack Splash

Nappy Roots Interview With Word of South

WordofSouth.com: With your upcoming album being called, “Pursuit of Nappyness” is there any kind of personal influence or inspiration from the hit movie, Pursuit of Happiness.

Skinny Deville: Definitely. I think what Will Smith’s character went through to get what he wanted out of life is something we all can relate to. As a man; family comes first next to God and he should do any and everything to provide, protect, and keep his unit together. The grind that Chris Darden had to go through to maintain stability for his child is what we do on a daily basis and often times it seems impossible and very difficult to accomplish. The movie is a true testament to humility, honesty, desperation, struggle, perseverance, patience and straight up grindin’. And for that, I can definitely relate.

WordofSouth.com: How did the recording process for this album differ from the first three?

Skinny Deville: This one was different in various ways. We used technology a lot on this album. When I say technology, it’s not easy and I’m going to say it like this. Me and [Fish] Scales live in Atlanta; Big V lives in Bowling Green and [Ron] Clutch and B. Stille live in Louisville. The album came about with only three sessions of us actually being together in the same room, same space at the same time. One was at Clutch’s house when we went to Louisville for Nappy Roots weekend and we stayed there for about a week and had a session. One was last summer when Clutch, Big V and B. Stille came to Atlanta and we all got in the studio. The last session we just had was in DJ KO’s spot who produced five tracks on the album. Those are the only three sessions we had together.
Between that, we were emailing records back and forth with the pro tools sessions. We were on the road doing a bunch of stuff. We even had a pro tools rig set up in the hotel rooms. We actually used pmpworldwide.com this time. It’s a beat dumpsite and we grabbed beats off that website and actually used them on the album. A lot of producers that are producing and using beat dump sites to gain notoriety, it actually does work. You gotta’ be patient and have the heat. We went through and used PMP Worldwide and a bunch of producers gave us tons of beats. We shopped through them and basically A&R’ed the project ourselves. We would email the producers and let them know we were trying to use it and they were ecstatic. We got a lot of the beats that way.

WordofSouth.com: We’re going to get into the album a bit more. I know Fontana distributed the last album and you already mentioned them here. So they are distributing this album as well, correct?

Skinny Deville: Yeah. We have a nice deal with them. It took a long time for us to get the situation that we have at Fontana. To get what we have now, the ability to put out 4-5 albums a year without somebody standing over us to keep everything from it other than our distribution fee is great. People are taking 360 deals right now just to get in the stores. We have a great situation without giving up our masters, publishing, touring or merchandising. We’re not giving up anything and our able to stay who we are and put out our music and not just our music but anybody we associate ourselves with and we want to put out, we can do that. We can do it digitally or physical. Ron Spaulding and a bunch of people over there like Chris Ayers & Erica Holley, we have a very good relationship.
My whole thing is to be respected and be treated like a priority regardless of where I’m at. At Atlantic, we were respected as a priority, but the game was changing. It was literally changing right in front of our faces and it didn’t make sense at the time for a six man collective to be signed to a major label on the same level as a solo artist. It just doesn’t make sense. How do you retire from the rap game? How does a hoe retire from the hoe game? She doesn’t. She might get out the game and do something totally different, but the pimp is not about to let you retire with a fat ass house and a bunch of shit with your kids well off. They aren’t supposed to do that.

Read the full interview here:
Word Of South - Nappy Flows: The Nappy Roots Interview