Friday, December 28, 2012

Chize – “SOUL x GOOD” (Free Soul vs. Jazz vs. HipHop Album) > Mixtapes, Musik > alternative, Hip Hop, jazz, miami, Rap, Soul

Chize – "SOUL x GOOD" (Free Soul vs. Jazz vs. HipHop Album) > Mixtapes, Musik > alternative, Hip Hop, jazz, miami, Rap, Soul

by MC Winkel,

Superdopes, hart vom Soul und leicht vom Jazz-beeinflusstes Projekt von einem HipHop-Produzenten namens "Chize" (der bestimmt mit noch keinem Deutschen über seinen Künstlernamen gesprochen hat) aus Miami. Er selbst sagt, man kann diesen Longplayer mit 2 Worten beschreiben, soul und gut – und so heisst dieses Album dann auch. Und dem ist so, mir gefällt die Smoothness seiner Beats ausgesprochen gut, es gibt ein paar Instrumentals und einige Tracks, auf denen er rappt. Egal, was es ist: Chize kann das, give it a shot:

"That crackling from the old record player. The muffled dialogue from the movie playing on the television. Those torn and tattered photographs of a young jazz musician and his songstress back in their heyday. All of these sentiments and more captured on a project that can only be described with two words: soul and good. SilentHand ENT presents to you the second installment from hip-hop composer Desmond "Chize" Symonette, entitled SOUL x GOOD."

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Monday, December 24, 2012

New Music: Ludacris Ft. Pusha T x Swizz Beatz “Tell Me What They Mad For”

New Music: Ludacris Ft. Pusha T x Swizz Beatz "Tell Me What They Mad For"

by Big Homie,
December 23rd 2012 12:22 PM

Off the Tapemaster Inc's, Slight Work 5, we now get the full version of Ludaversal's controversial record featuring Swizzy and Pusha's direct shots at you know who.

Tags: ludacris, pusha t, swizz beatz

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Saturday, December 22, 2012

New Music: A$AP Rocky Ft. Gucci Mane, Waka Flocka & Pharrell “Pretty Flacko (Remix)”

New Music: A$AP Rocky Ft. Gucci Mane, Waka Flocka & Pharrell "Pretty Flacko (Remix)"

by Big Homie,
December 21st 2012 6:29 PM

A$AP recently previewed the revamped audio on Ustream, but this evening, the compact disc quality arrives. Put'cha muthafucking hands up and support  Long.Live.A$AP on January 15.


Tags: a$ap rocky, gucci mane, pharrell, Waka Flocka Flame

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Friday, December 21, 2012

The Throne Hits Triple Platinum & Gold

The Throne Hits Triple Platinum & Gold

by Big Homie,
December 19th 2012 9:18 PM

More plaques on plaques for Jay and Ye as "Niggas In Paris" has just hit triple platinum. Also this week, their album's opening track, "No Church In The Wild" passed the 500k mark. Congrats—again!


Tags: Jay-Z, kanye west, the throne

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Thursday, December 20, 2012

T.I. & '12-12-12' Album Heading for High Debuts on Billboard 200 Chart | Billboard

T.I. & '12-12-12' Album Heading for High Debuts on Billboard 200 Chart | Billboard

by Keith Caulfiel,
December 19th 2012 7:34 AM

As the year comes to a close, the last big new albums hit retailers this week, with T.I.'s "Trouble Man: Heavy Is the Head" leading the charge. Industry sources are forecasting the hip-hop star's latest album -- his first in almost exactly two years -- to sell between 150,000 to 170,000 by week's end on Sunday, Dec. 23.

That won't be enough for No. 1, though, as Taylor Swift's "Red" will likely hold on to the crown for a sixth non-consecutive week. It's too early to tell how well "Red" will sell this week, however. T.I. may not be No. 2 either, as Michael Buble's "Christmas" set looks like it will probably take the runner-up slot. We'll have a better idea how much "Red" and "Christmas" will sell by Friday, Dec. 21.

(Why do we have a projection for T.I. but not Swift or Buble? Label sources can more easily forecast a new album's debut week after its first day in stores -- usually by Wednesday. However, holdover titles -- ones that have been on sale for more than a week -- behave differently than new albums. So, sources can better project a holdover set's sales further on into the week -- usually by Thursday or Friday.)

With that said -- what else is set for a high debut on the Billboard 200? Likely the "12-12-12 The Concert for Sandy Relief" compilation benefit album, which may move 125,000 to 150,000. The digital-exclusive effort was culled from live performances during the Dec. 12 all-star concert held at New York's Madison Square Garden. Sources say the 24-song Columbia Records set will be bolstered by over 60,000 in pre-orders placed via the iTunes Store. A physical version of the album will arrive in stores on Jan. 22.

Currently, none of the individual songs on the album are available to purchase a la carte. They range from Bon Jovi's "Wanted Dead or Alive" to Paul McCartney's "Helter Skelter." Absent from the set are any tunes performed by the show's Kanye West - the only performer from the concert not represented on the album. The reason for the rapper's absence on the set was unclear at press time. Columbia told it was unable to comment on the "12-12-12" album track listing.

The new Billboard 200 chart's top 10 will be revealed on the morning of Thursday, Dec. 27. For the next two weeks, due to the Christmas and New Year's holidays, the weekly top 10 recap story that normally posts on Wednesday morning will arrive on Thursday instead. Additionally, the charts on both and will refresh around 6 PM EST on Thursday on Dec. 27 and Jan. 3, instead of in the morning as usual.

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Wednesday, December 19, 2012

Chuck D on Rock and Roll Hall of Fame: Of Course Hip-Hop Belongs

Chuck D on Rock and Roll Hall of Fame: Of Course Hip-Hop Belongs

by Andy Greene,
December 18th 2012 12:10 PM

Next April, Public Enemy will become the fourth hip hop act to be inducted into the Rock and Roll Hall of Fame. Right now, however, Chuck D is extremely frustrated. He just wrapped a grueling cross-country Hip Hop Gods tour featuring Public Enemy, X-Clan, Monie Love, Schoolly D, Leaders of the New School and Awesome Dre, and he feels it didn't receive enough attention.

"I'm perturbed at the major media for not covering us," he says. "You didn't hear about any tours over the last 10 years that weren't Eminem or Rick Ross or Dre or Jay-Z or Kanye. The media was licking their ass, but we did quite well across the country and got no attention."

Older rap acts are often called "old school," but Chuck D thinks they need to be rebranded. "We created another genre called 'classic rap,'" he says. "I was inspired by the classic rock radio of the Seventies. They separated Chuck Berry and the Beatles from the Led Zeppelins and Bostons and Peter Framptons of the time. In many ways, classic rock became bigger than mainstream rock."

Public Enemy's Chuck D on 25 Years, the Election and Music 'Slavery'

He also drew inspiration from an unlikely source. "I turned on the TV and saw Arnold Palmer and Jack Nicklaus still golfing," he says. "I'm like, 'I thought they were retired.' Someone was like, 'Nah, that's the senior circuit.' The same thing can be happening in hip-hop. To confuse Schoolly D from Drake is absolutely ridiculous. It's related, and there can be some interaction there, but the fan bases are different. The meanings are different. These categories protect the legacy of hip-hop."

Classic rap artists have been playing together for years, but Chuck D was dismayed by the quality of their shows. "They were being treated like shit," he says. "They threw a bunch of artists on a bald stage. People would come, see a bunch of old records and go home. I realized there had to be a better way to do this. I called up a bunch of people personally and told them the idea for this tour is that nobody is bigger than anybody else. It's like what Ozzy Osbourne did with Ozzfest. We have a great camaraderie between the artists. We put 33 people on two buses and we all had the same agenda."

The first Hip Hop Gods tour just wrapped with a show in Los Angeles, but Chuck D is already planning five more for 2013. "I'm not physically going on all of them," he says. "I'm going to orchestrate them, and my team will actually be an integral part of them. I won't let them become a circus, which has happened to tours in the past. If you look at hip hop touring now, it's practically nonexistent. There's a lot of one-offs like Rock the Bells, but a tour that goes east to west, north to south, 3,000 miles, it's a different kind of animal."

In the meantime, Chuck D is extremely gratified that Public Enemy are entering the Rock and Roll Hall of Fame next year. "I'm very fortunate to be acknowledged by my peers," he says. "I take this very seriously. I grew up as a sports fan, and I know that a hall of fame is very different than an award for being the best of the year. It's a nod to the longevity of our accomplishment. When it comes to Public Enemy, we did this on our own terms. I imagine this as a trophy made out of crystal. I'd like to smash it into 10,000 pieces and hand each piece to a contributor."

Chuck D has little patience for people who say hip-hop acts don't belong in the Rock and Roll Hall of Fame. "Hip-hop is a part of rock & roll because it comes from DJ culture," he says. "DJ culture is the embodiment of all genres and all recorded music, if you actually pay attention to it."

Public Enemy will be inducted into the Hall of Fame on April 18th at a Los Angeles ceremony alongside Rush, Heart, Randy Newman, Donna Summer and Albert King. "We guarantee we're going to tear that damn place down," says Chuck D. "I might tell DJ Lord to rock the beginning of 'Tom Sawyer.' Then people will be shaking their heads like, 'What the fuck is going on?' That's the ability of what I consider probably one of the greatest performing bands in hip-hop history. It's not bragging, because I don't brag about myself, but my guys are the best in the business. There's nobody that can touch Flava Flav. There's nobody else like him in the world."

There's been no talk of any onstage collaborations with any of the other artists, but Public Enemy has a long history of working with rock groups. They recorded a new version of "Bring the Noise" with Anthrax in 1991, toured with U2 in 1992 and recorded "He Got Game" with Stephen Stills in 1998.

"The goal was to enhance ['For What It's Worth'], to take it to another level," Chuck D says. "I totally hate when somebody takes a classic and desecrates it. I like Jimmy Page and P. Diddy, but what they did to 'Kasmhir' was a debacle. They are giants in their own way – and you can print this – but that was a fucking travesty. When I get involved with a classic, I knock the fucking ceiling out of it or I leave it the fuck alone."

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Tuesday, December 18, 2012

Cry Of Jazz: Only known footage of Sun Ra and his original Arkestra, Chicago, 1950s

Cry Of Jazz: Only known footage of Sun Ra and his original Arkestra, Chicago, 1950s

by Richard Metzger,

Composer/arranger Edward O. Bland's 1958 quasi-documentary short, Cry of Jazz was one of the first films to examine Black culture. Made during the Eisenhower era when that concept hardly had a meaning to the general public, it was also perhaps the first time that assumptions of white cultural supremacy were challenged by an African-American director in cinema history.

Today the little-known film is considered a lost classic and was selected for preservation in the United States National Film Registry by the Library of Congress in 2010:

"[N]ow recognized as an early and influential example of African-American independent film-making. Director Ed Bland, with the help of more than 60 volunteer crew members, intercuts scenes of life in Chicago's black neighborhoods with interviews of interracial artists and intellectuals. "Cry of Jazz" argues that black life in America shares a structural identity with jazz music. With performance clips by the jazz composer, bandleader and pianist Sun Ra and his Arkestra, the film demonstrates the unifying tension between rehearsed and improvised jazz. "Cry of Jazz" is a historic and fascinating film that comments on racism and the appropriation of jazz by those who fail to understand its artistic and cultural origins."

Scenes of the Arkestra were filmed at 5 or 6 club gigs between 1956 and 1958. This was before the band and its leader began wearing the distinctive Egyptian and science fiction-styled headdresses and costumes they would later become known for. The great revolutionary poet, John Sinclair, had this to say about Cry of Jazz on his blog in 2004:

The Arkestra performances that provide the soundtrack for The Cry of Jazz underline and accent Bland's relentlessly didactic story line and offer vivid visual contrast to the extended narrative scenes which depict a group of collegiate jazz enthusiasts heatedly engaged in a profound intellectual discussion centered on the politics of music and race and the definition, meaning and future of jazz.

Bland's passionate, well-ordered polemic extremely advanced for the late 50s presents a systematic economic analysis of the social forces which produced and shaped the music called jazz, carefully relates them to the shape and form of the music then prevalent, and boldly forecasts what he calls the death of jazz that will be administered by a new experimental movement led by creative artists and composers (here typified by Sun Ra) who are dedicated to freeing the music from its historical strictures, reflecting the social conditions of the present, and projecting and interpreting the world of the future.

At first the story proceeds with excruciating slowness: A college jazz society meeting breaks up, leaving behind a group of stragglers a pair of white women, a white man and two black men who continue the discussion among themselves and soon reach sharp disagreement on the issues of where jazz originated, what forces shaped its development and why it sounded the way it did. Then one of the black men seizes center stage and carefully unfolds his increasingly radical analysis until his listeners are left virtually stupefied and without coherent response.

Sun Ra & the Arkestra lay down a pulsating track of sound under the narration and serve to punctuate the protagonist's long, engrossing lecture with appropriate segments of performance footage and musical counterpoint. It's easy to picture Sun Ra enthusiasts editing together these Arkestral appearances and eliminating the talking parts altogether, but inquisitive viewers may gain immensely from exposure to Bland's fiercely iconoclastic exposition on the state of African American creative music on the historical cusp of the modern jazz era and the free jazz, avant garde, New Black Music movement of the 1960s.

A young Herman Poole "Sonny" Blount, before he properly understood his intergalactic roots and legally changed his name to Le Sony'r Ra

Read more:
From Sonny Blount to Sun Ra: The Chicago Years

Sounds from Tomorrow's World: Sun Ra and the Chicago Years, 1946-1961

Purchase the DVD of Cry of Jazz at Amazon.

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Saturday, December 15, 2012

Bootsy Collins to headline funk festival at Hampton Coliseum

Bootsy Collins to headline funk festival at Hampton Coliseum

by Sam McDonal,
December 10th 2012

Bootsy Collins will lead a funky charge into Hampton Coliseum next year.

As has been the standard operating procedure recently, Hampton Coliseum made the announcement on its Facebook page: The great Bootsy Collins will headline the 2013 Hampton Funk Fest.

The event, set to take place Friday, Feb. 1, at Hampton Coliseum, will also feature Zapp, Rose Royce, Con Funk Shun and Lenny Williams.

Tickets go on sale 10 a.m. Friday, Dec. 14.

What's the famously funky bass man been up to lately? Last year, he released "Tha Funk Capital of the World," an album that included guest shots from Buckethead, Musiq Soulchild, Ice Cube, Bobby Womack and Samuel L. Jackson, among others.

The disc also featured a tribute to the late, great James Brown, who helped to introduce Bootsy to the world by hiring him for his ground-breaking band.

"What's funny about that is, I was a guitar player before I joined Mr. Brown's band, and I wanted to play bass like Jimi Hendrix," he said in an interview posted on his official website. "Eventually, that's exactly what I did, adding effects and freeing up the instrument to go anywhere I imagined it could go, and that's how Bootsy became Bootsy. But Mr. Brown wanted me to just keep it simple and keep on hitting that 'one.' I used to grumble about it, but today I'm thankful."

Read my review of last year's Hampton Funk Festival -- which featured George Clinton and Chuck Brown among others -- here.

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Friday, December 14, 2012

Fresh juicy funk from the Main Squeeze

Fresh juicy funk from the Main Squeeze

by Rachel Hanley,
December 12th 2012

Seasoned by an assortment of festivals under their belts, a Rolling Stone Super Bowl Party Show and a string of big city shows, Main Squeeze anticipate leaving The Vogue "freshly squozen" at their Friday show. Born in Bloomington, these multi-faceted funk fanatics made the migration to Chicago at the end of this past summer.

A self-titled "raging post-funk experience," the group has flourished as a regional act far from their modest college town roots. Originally known for hashing out versions of your mom's old favorites like "Superstitious" and "Use Me" to modern hip-hop classics like "The Next Episode," the Squeeze cut their chops polishing the art of rendition.

But they've always cultivated true creative aspirations.

"Our first show at the Bluebird had one original song, compared to our last Bluebird show, Oct. 3, which had 17 original songs and three covers," said Ben "Smiley" Silverstein, keyboardist.

They attribute much of this evolution to a focus on studio-based work, and gaining feedback via festivals and tours. But fans of their live shows will swear it's their passion that ultimately drives them. The Main Squeeze are masters of awakening the inner dance spirit of anyone who steps into their show. Mothers, fathers, cousins and siblings are subject to shaking what their mamas gave 'em when they're at a Squeeze performance. The charisma and energy that emanates from the stage while they play is gigantic and electrifying.

They got the chance to prove that on the big stage February.

After building an enormous reputation in Bloomington and doing some touring, the Main Squeeze entered a competition to perform at a the Rolling Stone-hosed Super Bowl party on the same bill as The Roots and Jane's Addiction. This highly sought-after slot was determined by an online popularity vote, which ultimately crowned the Main Squeeze as the winners.

"Rolling Stone actually picked the band out of the top three finalists, so it was pretty cool that they chose our band after listening to our music and all," said Corey Frye, vocalist. "The party itself was pretty wild, and Reuben [Gingrich, drummer] got to play on ?uestlove's drum kit."

Frye said the Downtown Indy party was "like a dream" and mentioned that Rolling Stone's follow-up coverage bolstered their fan base.

What could be more appropriate for the guys after playing a Super Bowl party, than performing at arguably the largest music festival in the United States? Absolutely nothing could be more natural for the Main Squeeze than to play at Bonnaroo Festival in Manchester, Tenn.

"The festival scene is cool. Those people love music and that's what they're there to do," said Gingrich.

"At Bonnaroo, we played at 12 in the afternoon and there was still close to a thousand people watching us."

"Festivals are a great thing to be a part of just in general," said Max Newman, guitarist. "But then having the gift and blessing to be able to put your stamp on a performance and contribute is the best."

The guys also "squeezified" tunes at the festivals Hyperion and Equifunk, and competed - - and won - - an international jazz competition in Macau, China.

Winning comes naturally to the Main Squeeze. The Venetian Jazz and Blues Festival in Macau, brought a hefty cash prize.

"China was awesome," said Frye. "It helped pay for our CD and a band van. It gave us international recognition, and opened a door to the East Asian market that we hope to continue to play in for years to come."

In conjunction with their myriad of successes on the festival circuit, and otherwise, the Main Squeeze decided to make the move to the Chicago.

The choice was made at the end of the summer. It was a big choice, but one that has already started to show profit.

"We're really laying the seeds," said Newman. "There isn't a lot tangible yet, but we've connected with lots of other bands and it's going to be great."

This enthusiasm demonstrates what could very well be the biggest, and most positive decision so far in their careers. With the move came a new bassist, Jeremiah Hunt, who had joined the band around the time of the release of their self-titled album.

Since they dropped their debut full-length compilation, Main Squeeze - - released on June 2, 2012 - - the crew has embarked on tours around the country from New York City to Madison, Wis. And the material they're touring on is strong.

"Our song writing process is so different now," says Smiley. "We spend so much time in the studio honing our albums now - - compared to [working on] our live work, which is how we started."

Progressing as instrumentalists and songwriters, the album displays the band's varied dimensions. Full of fan favorites, like "I'll Take Another" and "Mama Told Me" there are still plenty of soon-to-be classics that wait for discovery. Main Squeeze is totally deserving of its lengthy promotional tour.

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Main Squeeze in Macau, China

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Tuesday, December 11, 2012

(Pop, Soul, Funk) Prince – Rock & Roll Love Affair (Single) – 2012, MP3, 320 kbps

(Pop, Soul, Funk) Prince – Rock & Roll Love Affair (Single) – 2012, MP3, 320 kbps

by Mikki,
December 9th 2012 2:57 PM

Artist: Prince
Title: Rock & Roll Love Affair (Single)
Genre: Pop, Soul, Funk
Release date: 2012
Audio codec: MP3
Format: tracks
Quality: 320 kbps
Time: 31:10

1. Rock And Roll Love Affair (Original Radio) (4:01)
2. Rock And Roll Love Affair (Original Extended) (5:25)
3. Rock And Roll Love Affair (Jamie Lewis Club) (7:40)
4. Rock And Roll Love Affair (Jamie Lewis Stripped Down) (6:48)
5. Rock And Roll Love Affair (Jamie Lewis Club Radio) (3:36)
6. Rock And Roll Love Affair (Jamie Lewis Stripped Down Radio) (3:42)

(Pop, Soul, Funk) Prince – Rock & Roll Love Affair (Single) – 2012, MP3, 320 kbps
(Pop, Soul, Funk) Prince – Rock & Roll Love Affair (Single) – 2012, MP3, 320 kbps
(Pop, Soul, Funk) Prince – Rock & Roll Love Affair (Single) – 2012, MP3, 320 kbps

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Monday, December 10, 2012

Miguel Campbell: Digital funk for the 21st Century

Miguel Campbell: Digital funk for the 21st Century

by Marcus Barnes,
December 7th 2012 4:43 PM

Miguel Campbell may have risen to fame quite recently, but he's been dedicated to his sound for a long time now. Having been toiling away on his productions for eight years, he has remained loyal to a heavily funk and disco-influenced sound even though he was often scorned for it when he first started.

Now one of the shining lights at Hot Creations (he is the first producer to release a full artist album on the label) as well as running his own successful label, Outcross Recordings, Miguel is a regular globetrotter, though he remains loyal to his Leeds roots. I sat down for a chat with him to get the lowdown on his recent goings-on.

So Miguel, everything seems to be going really well for you at the moment.

It's been amazing, I just had the album release and that's been a massive thing. From before I had any high-profile remixes I knew this album project was something that I had on the cards. In 2012, when I was asked to write this album, I knew it was going to be something quite important but I also knew it wouldn't be happening for a year, a year and a half at least – after the success of the last EP it was like, "This is going to be pretty cool". Then it all boiled down to the release, it's exciting times.

It was signed quite a while ago then?

Yeah, I was asked to produce the album at the end of March 2010, so I started throwing ideas around at that time but I went to Ibiza that year and very minimal work gets done there – it's all ideas, planning and preparation. I started working on it when I got home, more or less finished it around a year ago but because of how big the EP was I had to revise it a bit and make sure everything fits. The most important thing was coming up with another song for the album, which turned out to be Not That Kind Of Girl. I got one of my friends from London up to Leeds and she re-sang a song I'd made six months prior and it worked perfectly on the album. As soon as that was boxed off it was like, "Let's get this out there". Now it's out I feel like I've had a big weight lifted off my shoulders, it feels great.

The title is a bit of a giveaway, but can you tell me more about theme behind the album Back In Flight School?

It's that old funk ethos of 'in flight', various artists have used the same principles – Aeroplane based his band name on it. You have artists like An-2 and Flight Facilities for instance… a lot of it boils down to Stevie Wonder's Love Light In Flight as well, funk music that gives you this flying kind of vibe. It was a theme that was apt with the amount of travelling I've been doing as well. A lot of the tracks that are on there have that funk sound to them.

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Funk seems to be quite a big influence on your music, where does that come from?

We listen to a lot of funk and disco tracks, the old Eighties and Seventies funk is the main inspiration for the sound we work on. A lot of the French touch was based on funk and disco too. I think there are two definite types of disco, you have the real disco stuff and you have the funk disco – it's more the funk side of things we're into. It's a case of replacing the disco sounds with more electro sounds, Zapp & Roger and people like that have been a big influence.

In fact, I've actually just done a remix of SKYY – the old Eighties band I think we've misused samples from a few times in the past. There's a US label that's just bought the rights to West End and Salsoul, they asked me if I'd do this re-edit and I was like, "I'm sure I've already got a track that I've ripped off sometime in the past". But I got sent all the parts to it and it was a real moment where I've actually got the parts and officially producing this instead of ripping off the sample. It's amazing, after years of sampling without permission, to get the parts and being requested to do it. I looked at Matt Hughes when we were in the studio and I was like, "Damn! We're producing SKYY here!". It was an amazing time for us.

It goes to show how far hard work can take you. So was all the funk and disco stuff around when you were a child?

My mum and pops listened to a variety of music when I was young, mainly Lovers Rock and roots rock reggae. At the same time, there was all the Motown stuff, which evolved into funk itself. Funk also has a massive influence on hip-hop, so many hip-hop tracks are based on old funk loops which people have sampled in an Akai and rhymed over. Before I was into house, I was primarily a hip-hop guy and funk was massively influential – when I first started DJing, it was at my local youth club and it was all about making the other kids dance. The tracks that worked best were the ones that were based on old funk tracks, so when I started producing it made sense for my to source some of these tracks and take influence from them. Even now, when I'm listening to funk albums from the eighties, I'll spot something and I'll be like, "Yo, that's Busta Rhymes!".

I have the same thing sometimes, mistakenly thinking the hip-hop track was the first to do it, then you hear where it was sampled from and it blows your mind.

It kind of happened with house music as well, some of my favourite-ever house tracks I used to sit there, before I started producing, and think, "How have these guys come up with this man? They must have had an orchestra in the studio," and later on down the line I'd hear the original and it was almost heartbreaking to know they hadn't done it themselves. It's an amazing artform sampling because it's about spotting things that are emotional to yourself and reappropriating that in your own music.

The whole funk thing has been really influential in what I do from the hip-hop times. For me dance music was born out of hip-hop too so it's been a real cool progression. I would never change my listening habits, and it all goes back to the roots and reggae that my parents used to listen to – it all had emotional content, which is very important to me – when I stopped listening to hip-hop and started listening to dance music it was all piano house, very emotional. When I started producing I didn't find any pleasure in producing techno or what was 'deep house', I found fun in the French touch side of things where there was real emotional content. There's something about having a four-bar loop where, every time it repeats, it's saying something new to you and the longer it goes on, the more it says to you. That's where Daft Punk came in and smashed it, that same style – small changes over the course of five minutes – and that's what inspired us to do what we do now.

There's a lot of repetition in what we do, and in the songs on the album, but at the same time they move and they flow. It's a case of producing that sound and making it sound cool… hopefully it sounds cool.

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I think it does, I really like The Avenger.

That's my favourite song on there, it's one of the most intricate ones on there too. I had it for a while, one of my friends, Ollie, he came to my house one day and I had this beat and this bassline – actually a different bassline to what's on there now – Ollie was like, "I wanna make a track with you mate". So I opened up this project and he was playing his guitar… so when I was working on the album about a year ago I was like, "Right, let me open up this tune and see what's happening". When I heard the guitar I thought it sounded wicked, so I added the keys and some effects, changed the beats and bassline and that's how it turned out. It's cool because I think it's got a very 'Lee Foss' sound to it, it's the kind of thing Lee would support and play. The whole crew has been a big influence on what I produce, with that track I knew it had a Daft Punk-y sound to it because of the wailing of the guitars, it really tells a story from beginning to end and it's my favourite track on the album so thanks man, you know your stuff!

How did you make the connection with Lee and Jamie and the Hot Creations crew?

I met Richy [Ahmed] one summer when I was away on holiday, a few months later I posted a few tracks on my social networks and Richy rang me up and was like, "Mate, have you got any more of these tunes? I'm really into this sound at the moment." So I made up a pack and sent it to Richy and Rob James and a couple of other friends, like Death On The Balcony. Richy and Rob went to Miami in 2010 and they were playing a few of my tunes, one of the tracks on the album Beams Of Light caught Jamie's ear and they introduced him to my music. Richy actually rang me while he was at a party in Miami and I was the back garden at a club in Leeds at the time, it was raining, I wasn't having a good time, just watching everyone having fun – he was like, "Jamie wants to sign this tune to Hot Creations". So I said, "Yeah of course". Hot Creations was still just a concept at the time. When everyone got back from Miami, Jamie rang me up and asked me to do an album because he was really digging the sound, he thought it would be a good idea… 18 months later I had the Baby I Got It EP out, with Something Special on the B-side and that did really well.

It would have been easy to change the album to cater for that success, but I had to stay true to what I originally started with. You're always your own worst critic, certainly now I feel like I have tracks that are really strong but it wouldn't be right for me to integrate those into the album. It tells a tale and it wouldn't be right to just add some random tracks in there. The best is yet to come, I'm in it for the long haul, I've been at it for eight years with no one listening to my music at all and some real big criticisms of my music, so for this to finally start evolving there's no rush… it's like my career has to tell a tale, not just the album.

The worst thing you can do is burn yourself out or dilute the music to cater for an audience.

Whenever I make a tune I always think, "Does it sound cool or does it sound cool for today?". I always like to think: "If something sounds cool, it sounds cool forever." I always try to impose that ethos on my music and, if it doesn't work, I put it to one side and one day, a year or two year's time, I might have an idea that I can bring back. There's a small number of tracks on the album that I've had for a number of years and I've pulled them out of my hard drive just for this particular project. This is what I did with Something Special, I wrote that song in 2007 and, after I began to make my album, I noticed Lee was into lots of the RnB vocals – I realised I had that track and thought it would be pretty cool. I reproduced it and you saw the result!

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What part of Leeds are you from?

Moortown, just a bit further up from Chapel Allerton. I grew up in Chapeltown, I lived in the ghetto until I was about eight or nine – my parents always strived to do better in life, and that's been a big influence on me. My dad's not with us anymore but whenever I do things, I do things in his way. My parents have always strived for things and never looked at things on a short-term basis, if you're gonna do something, do it right. It was a slow progression from when we left the ghetto, moving into a smaller yard, but slowly the yards got bigger and we moved quite a lot when I was younger. They just wanted to do things properly and that's how I do things now.

Are you still in Leeds now then?

Yeah back at my mum's! I had to sell my apartment just before I went to Ibiza this year, so when I got back from Ibiza my mum was like, "Your room is still here," it made sense, I don't know where I'm going to be next so it's nice to be with my family and take it easy for a bit.

Bit of an odd question but I was wondering if you think being mixed race has had much of an effect on your approach to music?

It's funny because, when I'm in the clubs, people always ask me if I've got 'something' for sale. It's like, "Nah mate, I've got nothing for sale apart from music". Then they're like, "You do music? You must be an MC. Are you into grime, hip-hop?" When I tell them I'm into house, they can't comprehend that. But, I wouldn't change it for the world, I like to be unique in what I do and slowly but surely I'm seeing more of the homies into the dance music. It's good to see that the music has reached into the ghetto and that they're actually listening to other stuff, and it's nice to know it's a universal vibe that's being pushed right now, it means a lot. It's nice to think that we're uniting people, from the posh white kids to the broke Chinese kids and all the mixtures of different people. It's amazing to be a part of that. The way my tracks appeal to people of all different races and ages, it's a real benefit to what we've done. It's something that came natural to me, I didn't set out to do it and I think because I've taken influence from music that smashed it years ago, it's helped me smash it today.

Does your mum listen to your music at all?

She listens to the radio shows and things like that, she still considers it, "Bang, bang, bang, bang". But I can remember about four or five years ago and she walked into my room and said, "Have you made this? It's quite groovy, I quite like this one." I can see the transition in my music from being an amateur, to being a bit more pro. She actually caught that vibe. Of course though, when she's downstairs all she can hear is, "DOOF, DOOF DOOF!".

She can see it's a viable career path for me now though. I've left my job a few times to pursue this and it got to a point where she was worrying about what I was doing with my life. It's great that she can see that I can set us up for the future, not just me but all my family.

Miguel Campbell's album Back In Flight School is out now. For more information on the man himself, visit his Facebook page HERE.

Tagged in: Back In Flight School, Hot Creations, Miguel Campbell, Outcross Recordings

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Sunday, December 9, 2012

Katy B releases free EP Danger : Jacques Greene, Wiley, Geeneus, Jessie Ware and more feature – FACT Magazine : Music News, New Music.

Katy B releases free EP Danger : Jacques Greene, Wiley, Geeneus, Jessie Ware and more feature – FACT Magazine : Music News, New Music. | Dec 7th 2012

Rinse FM siren Katy B has released a new EP, Danger, for free. 

In truth, the collaboration-heavy EP is more of a Katy B and Friends EP: regular collaborators DJ Zinc and Geeneus both feature, on 'Aaliyah' and 'Got Paid' respectively, while Danger's title track is an intriguing slow jam produced by Montreal's Jacques Greene. Vocal appearances come from Wiley ('Got Paid'), Jessie Ware ('Aaliyah') and Iggy Azaelia (the Diplo-produced 'Light as a Feather').

You can download Danger here; Katy B's second studio album is expected to see release in 2013.

01. Aaliyah (feat. Geeneus & Jessie Ware)
02. Got Paid (feat. Zinc & Wiley)
03. Light as a Feather (feat. Diplo & Iggy Azaelia)
04. Danger (feat. Jacques Greene)

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Friday, December 7, 2012

"Street Dreaming"

"Street Dreaming"

True 2 Life, the Brooklyn-based trio comprised of Concise, K-Words and Slangston Hughes, "embody hip hop striving towards its full potential." The new... Read more

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Alicia Keys Scores Record-Tying Sixth Straight No. 1 Album on R&B/Hip-Hop Albums - The Juice | Billboard

Alicia Keys Scores Record-Tying Sixth Straight No. 1 Album on R&B/Hip-Hop Albums - The Juice | Billboard | Dec 6th 2012 4:45 AM

Alicia Keys earns her sixth straight No. 1 on R&B/Hip-Hop Albums with "Girl On Fire" this week, tying her for the most consecutive No. 1s among solo artists with DMX, R. Kelly, Kanye West and Luther Vandross. (Keys already had the most straight leaders among women.)

Alicia Keys, 'Girl On Fire': Track-By-Track Review

In the lead among all acts is the Temptations, who strung together an amazing 10 straight No. 1s between 1965 and 1969.

DMX's first six albums all hit the top -- from 1998's "It's Dark and Hell Is Hot" through 2006's "Year of the Dog... Again." For R. Kelly, his streak ran from 1994's "12 Play" on to 2003's "Chocolate Factory." All six of Kanye West's releases have topped the list (that includes "Watch the Throne" with Jay-Z), while Vandross' first six entries hit No. 1 between 1981 and 1988.

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Keys' "Girl On Fire" actually jumps from No. 65 to No. 1 on the chart, after street-date violation sales forced it onto the chart week one early. It moved 159,000 in its first official week on sale, according to Nielsen SoundScan. The week previous, it did just over 1,000.

"Girl On Fire" bumps Rihanna's "Unapologetic" down to No. 2 (72,000; down 70%), while Keyshia Cole's "Woman to Woman" falls 2-3 (37,000; down 61%). It's the first time the entire top three slots are ruled by women since the Aug. 13, 2011 tally. That week, Kelly Rowland's "Here I Am" led the list, followed by Beyoncé's "4" and Joss Stone's "LP1."

Back on this week's chart, Kendrick Lamar's "Good Kid, M.A.A.D. City" descends 3-4 (29,000; down 42%) while Cee Lo Green's "Cee Lo's Magic Moment" hits a new high, rising 16-5 with 21,000 (up 104%).

The album had initially bowed at No. 12 with just 6,000 copies on the Nov. 17 chart, but this week finally hits the top 10, giving Green his fourth top 10 entry (out of four tries).

The sudden increase in sales can be linked back to "The Voice" coach's recent television performances. On Nov. 27, he performed "Bein' Green" on "The Voice," alongside Kermit the Frog, who is featured on "Magic Moment" with his fellow Muppets. The following night, Green performed "This Christmas" and "All I Need is Love," off the set, on NBC's "Christmas as Rockefeller Center." Finally, on Nov. 30, the aptly-titled Christmas special "Cee Lo's Magical Moment" aired on the TV Guide Network with guests Rod Stewart, Eric Benet and the Muppets.

Over on the R&B/Hip-Hop Songs chart, 50 Cent earns his highest debut ever as "My Life" crashes in at No. 6. Featuring Eminem and Adam Levine, the song enters high as a result of its strong first-week sales. 50's previous highest entry came with "Disco Inferno" in 2005, which bowed at No. 38.

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"My Life" moved 140,000 downloads last week and enters at No. 2 on R&B/Hip-Hop Digital Songs.

The only R&B/Hip-Hop song to sell more last week was Keys' "Girl On Fire," which shifted just over 140,000. It moves 2-1 on the list. Last week's leader, Rihanna's "Diamonds," falls to No. 3 with 122,000 (down 31%).

However, on the overall R&B/Hip-Hop Songs chart -- which blends sales, airplay and streaming data -- Rihanna's "Diamonds" continues to shine at No. 1 for a ninth week. "Girl On Fire" jumps 5-2, Kendrick Lamar's "Swimming Pools (Drank)" climbs 4-3 and Kanye West, Jay-Z and Big Sean's "Clique" slips 2-4.

Miguel's "Adorn" steps down 3-5, Macklemore & Ryan Lewis' "Thrift Shop" (featuring Wanz) holds at No. 7 and Juicy J's "Bandz a Make Her Dance" dips 6-8. Frank Ocean's "Thinkin Bout You" falls 8-9 and Lil Wayne's "No Worries" (featuring Detail) is stationary at No. 10.

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Wednesday, December 5, 2012

Professor Griff Of Public Enemy Takes Hip-Hop To Class

Professor Griff Of Public Enemy Takes Hip-Hop To Class

by Tawni Fears,
December 2nd 2012

For more than two decades, Public Enemy has always stood on what they believe – and they made others stand up for change. Simply put, they have transformed music forever.

Now, as they prepare to be inducted into the 2013 Rock & Roll Hall Of Fame, Professor Griff speaks to their legacy, and what is still needed from each of us: First off, congrats on the 2013 Rock & Roll Of Fame nomination. How does it feel to know the impact of the group is still being felt?

Professor Griff: We're humbled, but we continue to work towards making a bigger impact. It's basically fuel to our mission as a whole. It feels good to know that we  have this honor.  But the greatest benefit comes from doing the work, the actual ground work. In your words, "Revolution is NOT an event, it's a process." Explain what that means.

Professor Griff: You aren't going to go to one event and get it. It's a process. It takes time and effort. But sadly it's only carried out by a few.

See Video: What artists if any, do you feel are carrying the torch of Revolution today?

Professor Griff: Six artists that I feel are carrying the torch are Jay from Xclan, Wise Intelligent from PRT [Poor Righteous Teachers], Black Dot, Narubi Selah, Precise Science, and  Immortal Technique. Are artists too timid these days? It seems they can touch on subjects that are cool, but not those that can cause controversy. Do you agree?

Professor Griff: A lot of new artists play it safe. They want a paycheck. They aren't too concerned with going too much out of the context, when it involves free thinking. Labels cater to high-end Pop artists; that's just how it is. Good music gets shunned in a lot of cases. The artist with the message gets kicked to the curb. Do you feel that Public Enemy got the respect you deserved?

Professor Griff: Yes. The respect is evident all the time. When we do shows we have men, women,and  young people, all showing their appreciation for what we do. Dads bring their sons, it's just a lot of people wanting our message to continue to thrive and live. I get it on a personal level as well. And even the aggravation. It's a package deal, but all worth it. What are three things that you know now that you wish you would have known then?

Professor Griff: I would've known who runs and controls music and media. If we fully understood that, all of us would be better off. Another one would be to understand the matrix of power. In other words, those people like President Obama. Things like the voting process and the, as well. Lastly, I would've known myself better. That alone would change everything. What do you want people to remember most about Public Enemy?

Professor Griff: Public Enemy was a group that came in pure. We weren't paid; we started from the bottom with the idea of revolution, to raise the consensus level of people. We feel we have reached that level to a certain degree. We want to be known as the group that spoke truth and power. What do you want your legacy to be?

Professor Griff: My legacy is parallel with the group's. The work I do inside and outside of Public Enemy all works together. I want to be remembered as someone who loved Black people, all people, and it all starts with the love I have for myself. I feel God gave me this mission because I can handle it. If I couldn't, he wouldn't have given it to me – it's as simple as that to me. I don't worry about what people say; they don't have my mission. I'm often asked how I keep going, and never look weighed down. I tell people it's because I don't smoke, drink, or chase women. Yes, temptations and distractions come, but I focus on what I'm supposed to be doing. You have to be God-centered and God-rooted. Can you share with our readers a fact that most people might not know about the group?

Professor Griff: We aren't as hardcore as people assume. There's a comedic relief side to the group. We know how to have fun. Basically, there's a method to the madness. We grew up together, so there's a love  between us that people can't comprehend. A lot of people don't know that I was a DJ and used to see Chuck D in the audience. I was actually the one that made him part of what we were doing. He, in turn, did that for us when he got his deal. We worked together then on all levels, and we still do. Is there anything else you want to leave us with?

Professor Griff: These projects we're coming out with only speak to the fact that the work doesn't stop. After the awards, that's when you use that platform to reach those you couldn't before. My next book is called Acapella Revolution. I have to continue to speak out on the things that have to be fixed. We're losing young women to AIDS, and men to prison and the grave. There's still so much to be done. Not just by me, or Public Enemy, but by all of us.

Tawni Fears is a freelance writer and contributor to Follow her on Twitter (@brwnsugaT).

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Monday, December 3, 2012

This Is How I Made It

This Is How I Made It

by Sam Gould,
December 2nd 2012

follows the likes of and with an appearance on MTV's  documentary series and speaks on his upbringing, his introduction to music and his rise in the rap game.

Bobby Ray's story of his early years as a singer and a rapper is particularly interesting, as the ATLien faced opposition from within his own family. He explains how his father, a preacher man, never wanted him to rap in the first place, stopping him once in the hallway to ask, "Why are you trying to be something that you're not?'"

Skipping forward to his U.S. No.1. The Adventures of Bobby Ray, the rapper talks about breaking out of boxes with his Hayley Williams collaboration "Airplanes" and performing the track with the Paramore singer at the VMAs.

Watch the eight-minute clip below.

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Saturday, December 1, 2012

Prince Goes “Rock ‘N Roll” On New Single [First Listen]

Prince Goes "Rock 'N Roll" On New Single [First Listen] | Nov 30th 2012 3:31 PM

For his first single in over two years Prince shows he still believes in rock and roll.

Set in a nightclub, the video features the Purple One performing his latest single, "Rock 'N Roll Love Affair." His first new song since releasing his 2010 album cleverly titled 20Ten.

The clip, which was directed by Chris Robinson, who has worked with Beyoncé and Alicia Keys, shows off Prince's eclectic fashion sense (check out those sunglasses!) along with the eight members of his band, the New Power Generation. The singer has been curating his band since 1990, finding the best musicians around the world to join him on tour. In fact he's still planning to find additional members, so start practicing.

Watch his latest video for "Rock 'N Roll Love Affair," which will be featured on his as-yet-untitled album. No release date has been announced as of now.

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Ibeyi's Voices Rise Up : World Cafe : NPR