Rapper Big Boi of the LEGENDARY group Outkast is hitting fans hard with a pair of new singles! Always on his A-game, he pulls not shorts in releasing that ultimate fire 🔥 to get folks hype! Check out #MikeJac feat. #AdamLevine & #KillJill feat. #KillerMike & #YoungJeezy below!!!
Following more than twenty years in music, Krayzie Bone and Bizzy Bone have finally joined forces for a long-awaited joint album. Fans alike have anticipated the album for much of the group's career. Titled "New Waves", the album is set to drop in June.
Check out the lead single, "Coming Home" below, which features guest vocals from Stephen Marley.
The ladies of #TLC are back with their new single, Way Back, featuring Snoop Dogg! It's a hot new west coast vibe for the ladies, and it's definitely next level for T-Boz & Chilli. "Way Back" stands as the lead single to their final album, which is due in stores this June. Take a listen to the track below, and be sure to comment with your thoughts!
Rick Ross | MTV Woodies | Photo Credit: Getty Images, Courtesy of MTV
It was a night to remember for those who were in Austin, TX SXSW and The MTV Woodies. D.R.A.M. opened the night alongside by Lil' Yachty. They were the perfect intro for Rick Ross, who served as the event's host for the night. Ross shined in his role as master of ceremonies, as the night rolled on with several artists winning coveted Woodie awards, and many more offering arousing performances to keep the crowd on their feet.
Ross is dominating the spotlight this week, as he released his highly anticipated album, Rather You than Me, as the event ended last night. The album is now available in stores worldwide, and with all digital retailers.
For more on The MTV Woodie Awards, visit www.mtv.com/woodies
Scroll below to check out some of the nights hottest performances!!!
JIDENNA: HELICOPTERS
DESIIGNER: OUTLETS
D.R.A.M.: CHA CHA
In-demand Houston producer Trakksounds presents a hot new track entitled “11:15” featuringDevin The Dude, Kirko Bangs and Neko. Putting an amusing twist on the TLC classic “Creep,” the versatile producer reimagines the sexy late night rendezvous from a man’s perspective. The soulful jam is the second release from Trakksounds’ forthcoming albumThe Other Sidewhich includes artist features by Scarface, A$AP Ferg,Devin The Dude, Kevin Gates,Dizzy Wright,Starlito, Maxo Kream, Scotty ATL, Xavier Wolf, Kirko Bangz and many others. Full tracklist included below.
“I grew up listening to TLC and am a huge fan. I’ve been wanting to flip the Creep sample and put out a fresh male perspective on it,” explains Trakksounds. “So I linked up with my co-producers Roc N Mayne in LA and we just vibed out on it in the lab. I needed it to be the same soulful feel so I presented it to Devin who I knew would deliver the hook perfectly. And of course Neko’s wicked pen never disappoints and Kirko sealed it up with his swag.”
LISTEN TO "11:15" ON SOUNDCLOUD
“11:15” follows lead single “Once Upon A Time” which paired a long-awaited collaboration with Scarface and Starlito. Praising its dark piano laden production as “fantastic,” XXL was proud to exclusively premiere his first single last month. Meanwhile HotNewHipHop gave a nod to the “spooky production provided by Trakksounds” and encouraged readers to become familiar with the Houston producer who’s “working with some of the hottest artists in the game right now.”
LISTEN TO "ONCE UPON A TIME" ON SOUNDCLOUD
Fans can catch Trakksounds in the mix at SXSW this Wednesday March 15th. He will be at the Palm Door performing at the Welcome To Tha South Showcase alongside Peewee Longway, Maxo Kream, Starlito, Ralo, Sonny Digital and more.
To celebrate his new album, Trakksounds will host a hometown album release party on April 1st at Houston’s Warehouse Live with not-to-be-missed performances from Starlito, Don Trip, Scotty ATL and many other special guests.
See track listing below...
1. Intro
2. Once Upon A Time (Ft. Starlito, Scarface, Kam Franklin)
3. Priorities (Ft. GT Garza, Roosh Williams, Doeman)
4. Feel Alive (Ft. T2 The Ghetto Hippie, Dizzy Wright)
5. Fireflies (Ft. Fat Dollies)
6. Issues (Ft. Constantine)
7. Active (Ft. Maxo Kream, Xavier Wulf)
8. Can't Explain It (Ft. Scotty ATL, Rizzoo Rizzoo, OranJuiceJones II)
9. 11:15 (Ft. Devin The Dude, Kirko Bangz, Neko)
10. No Doubt About It (Ft. Railey Rose)
11. Never Tipsy (Ft. Killa Kyleon, ASAP Ferg, & Maxo Kream)
12. Known Fact (Ft. Scotty ATL)
13. B.M.W. (Ft. Ye Ali)
14. Ringing (TrakkSounds Remix) (Ft. Kevin Gates & Killa Kyleon)
15. Tomorrow Never Comes ft. Kam Franklin, Heartbeatz & Neko
Ami Miller is one of the hottest names to hit the game, and judging by her latest ammunition, the fiery "Not Trippin", she going to be here a long time. Check it out below...
For more info on Ami, visit her official website at www.ouchgirlami.com, and via Instagram & Twitter @amimilleromg
Artists like JG are truly redefining what it is to be a rap artist in today's hip-hop world. We've seen a complete metamorphosis in terms of what artists represent, and not only how they're portrayed, but how they present themselves. For those who have been around long enough to witness hip-hop from the eighties, through the nineties, and right into the new millennium, many will argue that we've watch the slow death of what we once knew. We've seen it start from artists coming with real "message" music to those who weren't saying anything at all. It had become more s stage show than anything, and not many truly respected the essence of the craft. In essence, it was no different than someone working a job simply for a paycheck, which goes against the whole code because the idea is that people are doing what they love. We're now arriving at a place where artists are becoming more attuned with themselves, and using the stories of their lives not only to elevate themselves, but connect their to the rest of the world. More importantly, we're seeing more artists with a genuine love for the art form, and it's reflecting in the product.
We recently ran the debut of JG's "Birds in LA", which feature Rich the Kid. With one watch if the clip, its clear to see he's bringing back the essence of hip-hop that has been missing for a long time. While he's not drilling you with any particular message, it's clear he's having fun, and his heart is in it. It gives you a sense not only of what can be expected from his album, but also the direction hip-hop is heading, and how things are truly
coming back around.
JG sat down to talk with us about the new single, the idea he had behind the track, and how this, as well as the upcoming barrage of singles will strategically lead us into his EP, which we'll likely get later this year.
U.G. Digital Mag: I appreciate you sitting down with us bro. Kudos for all that’s happening your way.
JG: Thank you man. I appreciate that.
U.G. Digital Mag: Start off first by talking about Birds in LA. There’s a lot that I can really appreciate, not just about the song, but also your delivery, overall flow, and I think the style you’re bringing is needed right now. There’s a lot in hip-hop that I struggle with in terms of direction, but you’re taking it in the right direction. With that in mind, talk about the single and your goals for that?
JG: Well I mean, with that record, just getting rich on it was a big thing because I wanted it to get the recognition it deserved. I felt like the verses were hot, and I was just trying to establish myself. Before this, I hadn’t had anything out there, so I was trying to establish myself, get on a record with somebody who may be in a different lane than myself, but also showcase what I’m trying to bring to the table. I feel like the record doesn’t have any real meaning per se, and its definitely not a political message. It’s just a dope record. I was showcasing my lyrical ability.
U.G. Digital Mag: I think people who look at it can see that there's not necessarily a cockiness, but more a level of confidence. Overall, it’s like I’m here, this is me, and this is what you get.
JG: Basically that's it. It’s really something that you speak about the confidence, because for me, it something that comes out more in my music. It’s like I’m two people. On the mic, things I want to say, that side of me comes out more.
U.G. Digital Mag: I think that’s good. How do you feel like taking it back to your own life, this will allow you to show more of that confidence outside of music?
JG: It’s not that I’m not confident. Im just not flamboyant or boastful. I don’t seek that, and my goal isn’t to flex on people. My goal is to make good music and hopefully, people will relate to my music. I don’t think this will really reflect superficially, but I am confident in my abilities. I’m just more reserved.
U.G. Digital Mag: I think a lot of people can appreciate that, and relate. I see where your influence comes from, and obviously you listen to the J. Coles, and those artists who people label as “artists with something to say”. I think people see it, but at the same time, you’re your own artist. Talk about how this single leads into the album?
JG: It’s definitely the lead-off to the album. I really was trying to set things up in terms of what you could expect. It’s a little different to me. The vibes on the album, and this song in particular, it’s more melodic. "My Side" is more upbeat, more wavy and club vib-ish. I try to give something for everybody, but at the same time, deliver a message throughout the project. That’s what I want people to take away from this. I have songs to turn up to, but then I also have songs where you have to sit back, listen, and think. Like you said, J. Cole and other artists are my inspiration, but I also realize there’s a fine line that you have to straddle. People don’t want to just be put to sleep, and unfortunately, we live in a time where the attention span Is not what it once was. It’s changed a little, so I try to cater to that, but also do what I love to do.
U.G. Digital Mag: I think in terms of attention, a lot of people just want more artists who will bend the lines and be different. I think what helps a lot is being independent. There’s so much happening on the independent front, and you have the ability to do so much more of what you want. People see that creativity within you, and can see you’re not being guided in terms of what someone else thinks is hot.
JG: That’s pretty much what it is. I don’t like being labeled, and being put in a box. If I want to make a super melodic record and then come back to make an east coast rap record, I like to exercise my freedom to do just that. That’s more of the artistry I want people to see. With these first 4-5 records, it’s a bit of every aspect of that. I’m hoping people get out of it what I’m trying to put into it.
U.G. Digital Mag: I think they will. Even going back to "Birds in LA", I immediately felt it, and that’s a compliment in the highest form because being honest, I don’t easily get into a lot of music today. It’s not even in a disrespectful way either.
JG: Right. No disrespect, it’s just not your lane.
U.G. Digital Mag: Right. But I played it, and felt it right away. Then my son, who is ten years old by the way, listened and could vibe to it. You can reach people of all age ranges, which is cool. I think people, again, can appreciate that. What happens between now and later this year when it drops?
JG: Right now, we have about 4-5 records lined up. We’re just building the fanbase. It’s been a while since I've released any music. A lot of people have not heard of me, and for those who have, it’s been a while since I put anything out. So it’s connecting with the new fans, and recapturing old ones. There isn't a date set in stone yet.
U.G. Digital Mag: The reality too is that people don’t even need the date because as long as you keep coming the way you are, people will take to it, and regardless of when it drops, people will support because it’s something tangible.
JG: Yea. I have a lot of music ready. My problem is I’m always eager to drop it. I think things are going in the right direction though. I think it’ll be a good year.
U.G. Digital Mag: For people who want to check you out, we have the social media, Instagram, Twitter, Soundcloud, and YouTube accounts. Where else can people check you out?
JG: I have my Facebook page, which gets the most interaction. I know Facebook is not really so big, but I get a lot of interaction there.
U.G. Digital Mag: It actually depends on the artist. Some actually do better with Instagram and Twitter, but those who have more engagement, they do better on Facebook. It just depends.
JG: Yea like me, I’ve neglected Twitter. I barely tweet, and I’m trying to get better, but it just isn’t my thing.
U.G. Digital Mag: Everyone has their thing. I neglect Snapchat. Some people are religious to Snapchat.
JG: Right. Also I have a few records on Spotify, and Pandora. I have one on Apple music, and we're working on getting the rest up there. The music coming now will hit all of those outlets. Other than that, that’s about it. Worldstar obviously also. I think that’s about it.
U.G. Digital Mag: What about your personal site?
JG: It's www.iamjgforreal.com
U.G. Digital Mag: Any final comments at all?
JG: Not really. I feel like we touched on some good stuff. Really, I’m not even going down that route [laughing].
U.G. Digital Mag: I just want to say I really appreciate you. Your artistry makes me want to do what I do. I relate to your comments about being in a box, and that goes for any industry. In terms of journalism or black media, if I write for others, which I have, and do here and there, it’s easy to get put in a box in terms of what you can and cannot cover, and the way you go about it. Having my own allows me to talk about what the artists really want to talk about. I appreciate being able to connect, and I thoroughly appreciate your music.
JG: It’s a blessing to have this conversation. Everything happens so fast, and it’s been a long time. We just launched the campaign, and it’s happening so fast. The main thing is I don’t want to be in a box. If somebody is not feeling this record, just wait a minute, and you’ll feel the next one. I touch on certain areas just to show I can do this, and I also can do that. It’s not to say I don’t have a style; I just do what the fuck I want to do musically.
For as much as we felt we already knew about The Notorious B.I.G. and the classic double LP, Life After Death, the process of completing the various features we have has been quite eye opening. It’s been an opportunity to look deeper into the lyrics that he truly lived, and the words that have lived posthumously for 20 years now.
In this particular feature, we connect with Nashiem Myrick, who was an intricate part of Bad Boy’s Hitmen, the in-house production team that ultimately crafted a majority of the songs we all knew an loved, not just from Biggie, but from many other artists on the booming roster. Myrick has been lauded for his work through the year, especially the personal touch he added to Life After Death. Having developed a relationship with B.I.G. that began during the “Ready to Die” days, it wasn’t difficult for him to know exactly what the King wanted. Myrick definitely delivered with four of the album’s most revered tracks: “Somebody’s Gotta Die”, “Niggas Bleed”, “My Downfall”, and “What’s Beef”. We talk to Myrick not only about these powerful tracks, but also the legacy that has lived now for two decades, and continues to grow with each passing day. He also gives us a glimpse into what he has going on right now, and what we can be on the lookout for.
U.G. Digital Mag: I’m immensely grateful to you for your time man. As someone who religiously read album credits, I've wanted to connect with you definitely this entire 20 years. This is really awesome to talk so someone I feel was majorly vital for the overall creativity in this project. Clearly we're honoring the legacy of Biggie in Life After Death, but you're responsible for a bulk of the album in terms of production. What was that like at the time, knowing you would contribute, and then what's it like now, looking at how inspirational it's been to so many people?
Nashiem Myrick: Well, you know, it was the hitmen, and we got a chance to do a bulk of the album. Me and B.I.G. were in tune, and we had a connection when it came to music. He liked the stuff that I liked. With Somebody’s Gotta Die, I got that to him well before the album started. We were still working Ready to Die, and I have him the track. It pretty much started the direction of the new album. Not to say that it was the maiden fact for the album, which it is on the album, it’s the first track, but he got into that new vibe at that time when he started to wrote to that song. If you listen to Life After Death, and then you go back to the first album, you can tell his rhyme style changed a little.
U.G. Digital Magazine: Oh it changed a whole lot.
Nashiem Myrick: Right. It got way more intricate and sophisticated. I got a head start before everyone else. I had an opportunity to do way more tracks for him.
U.G. Digital Mag: I felt like there was something in I’m that, while not trying to be like anyone else or prove anything, it’s like he was saying “look, I can roll with the best of ‘em, no matter who It is”. Coming from Cleveland, People here really looked out for Notorious Thugs featuring Bone Thugs, and he clearly switched his entire flow. He did stuff many were scared to do.
Nashiem Myrick: Right, and it’s like, if you wasn’t from the midwest, you wasn’t doing that Bone Thugs n Harmony record. At that time, he surprised everybody, but we knew he had it in him. Him and Jay were just on another level at that time. I can’t explain it, and no one can, but they was just on another level when it came to the rhymes, it was like out of this world.
U.G. Digital Mag: My own interpretation with Life After Death was that you had the most introspective tracks on the album. Not really any of the uptempos, but the more gritty cuts. Was that a conscious move? How would it be determined what you worked on versus what everyone else in the hitmen worked on?
Nashiem Myrick: We all had different styles, and that was the beauty of it. It was never a case of us having to preplan anything. I had linked up with a guy names Carlos Broady a little before the album started. He and I collaborated on those songs, and we had the same ear, and the same style. When it came to the rest of the hitmen, D-Dot, Stevie, Ron Lawrence, you know, we were just different. Even though Ron Lawrence and D-Dot were a team, basically everybody had their own style. When it came to making the album, B.I.G. and Puff pretty much knew what each element; the elements being Me, Carlos, and Stevie, they knew what each one of us individually would bring. That would make a more broader album as far as music was concerned. You gotta understand; we was new at the time. I had a track record from Who Shot Ya, and a couple other joints floating out there like Queen Bitch.
U.G. Digital Mag: It’s crazy because a lot of people really don’t know, and I look at how big some names have gotten in production. There’s so many songs you’ve done out there, from Queen Bitch, and Who Shot Ya, and you’ve worked with Mary, Jay-Z, Scarface, and a lot of people don’t recognize. You brought something to the table with B.I.G. that so many people fell in love with. Even looking at the samples you used, You figure the Isley brothers, Al Green, Richard Evans, The Dramatics, Run DMC, you introduced a lot of people to music before that time. Today, many artists don’t know about the predecessors, let alone even having respect for the predecessors. I talked to DMC last week about “My Downfall”, and we talked about the fact that musicians today don’t know those before them.
Nashiem Myrick: I know, and that behooves me because I grew up on music since I was so little, and I was always interested in the credits, even before I was really making music, I always understood it was a process to make these songs. I was reading the sleeves at such an early age that I knew this guys also played in Funkadelic, and Bootsy Collins, or they derived from James Brown’s era. I always put it all together. My father was a big music fan, and he was also a DJ, and had a record collection that would blow your mind. That’s all I did was gain knowledge, and he was into every type of music. If it had soul, he introduced it to me. I don’t understand these kids. You’re not going to last if you don’t know your past. Period! Everything on earth relied on the elements that came before.
U.G. Digital Mag: I appreciate hearing that from you because I was somebody that read the liner notes to see who was involved, where the sample came from, and everything. You speak of Carlos, and that was my introduction to him; reading the liner notes for the album. I remember listening to “Anotha”, and learning ti came from Barbara Mason. Before reading that, I had no clue. It’s good to hear this from you. Also, the people you sample, my son picks it up, even at 10. He knows “Stay With Me” by El Debarge was sampled for One More Chance; He knows Al Green, and so on.
Nashiem Myrick: I had an advantage that these young kids don’t have today. I was born in 1970, so I was born when hip-hop was created. I lived through it, so I don’t really have to go back in time. I didn’t have to do too much history because it was right there for me, and since we as a culture, our music comes from what we have around us. We’re not band players. We actually developed through technology, so we relied on old records that were already done. You have to know your history. I was a guy who always knew the break beats. I collected break beats. Since I grew up around music, I always knew the samples as people were coming out with them. I always knew it, and if I didn’t, I went back into my record collection, or I would read the notes. I used to know, down to the drum loop, what songs were used. Even if they used a snare and a kick, I could name the snare kick when I was young, and it was crazy. I was a buff, and people would be amazed. That’s one thing Puff loved about me when we met. I met Puff when we was at Howard. He was DJ’ing and hosting parties. When he got his job at Uptown, he would call me over for studio setups. I would sit with him and go through break beats all night.
U.G. Digital Mag: It had to be a good feeling in your heart to be involved from the very beginning of Uptown with him.
Nashiem Myrick: Yea, when he got the job interning, I can remember he was still going to Howard. I knew like, I know this guy so somehow we’ll connect. Plus, I was in the group with one of his friends, one of my beats friends, Harve Pierre, and our friend Davie, we had the connection, and he was trying to get into the music business. We already had the record deal. He was promoting parties, and we was always in cahoots with each other.
U.G. Digital Mag: How did you end up being production them?
Nashiem Myrick: Well, the record deal that me, Harve, and Dave had, Sticks and Stones was the name of our group, they dropped us. We was on Pay Day Records, and was managed by Empire management. That’s Group Home and Gangstarr, they was down with them also. They dropped us on my birthday and I’ll never forget. I got the call on my birthday, so from there, Puff had gotten fired from Uptown, and started shopping Bad Boy. He had already asked me to work for him when he was at Uptown, but it was more clerical stuff. I knew that could open doors for me, but I didn’t know nothing about clerical work. When he got his deal at Bad Boy, Mark Pitts was working for him. He invited Harve up there, and Harve was working for him. He didn’t really have a staff at the time. He had a studio in the crib, and needed an intern. I was interning under Poke of the Trackmasters. They were taking care of the studio and I worked under them, but two weeks later, I guess they had a break-up over something, and Puff wanted me to take a bigger part in this. He wanted me to step up, and I said let’s do it. He already knew I wanted to be a producer, and I knew the street essence of the hip-hop game as far as music was concerned. I was already heavy into the samples, and he already knew that from me being a DJ. Gradually it formed.
U.G. Digital Mag: Of all the songs you worked with, you had “Somebody’s Gotta Die”, “What’s Beef”, “Niggas Bleed”, and “My Downfall”. What did those songs specifically do for the album to lend it the credibility it has maintained for 20 years now?
Nashiem Myrick: I think they were the glue for certain moments in the album. You could tell a couple of them were storytelling joints, which B.I.G. was incredible out.
U.G. Digital Mag: Exactly.
Nashiem Myrick: He had to display that. They were the glue. It’s like, you make a dish and you need something to keep the certain ingredients together. Those tracks gave it that grit. That’s where I came in at. It was to hold the album together. having an album with just video joints, there’s no depth involved. You need something to take with you. You need legs to an album to where it keeps with you for a while. If you have all radio joints, it gets exploited on the radio and in the club, and then you’re through with the album. This is so you can have something to take you into the future. They keep the album together and make it do beautiful.
U.G. Digital Mag: It’s funny, though, how you speak of the radio tracks. You have “Hypnotize”, ‘Going Back to Cali”, “Mo Money, Mo Problems”, and by far, they took the album to the next level, but when you look at even “My Downfall” specifically, it has carried the album for this time. You had the more introspective joints where you could listen to what he was saying and relate it to your own life. Theycarried the album.
Nashiem Myrick: Yea, and that’s the basis of a classic album. You gotta have a joint that’s not going to be exploited on the radio. it’s just for the album. You have to buy the album to get certain cuts. A lot of times, it can be worthy of a single, but let’s keep it on the album. That’s a trick I guess they learned long ago.
U.G. Digital Mag: It’s definitely dope though. When you look at hip-hop today, how has this album aided the evolution of hip-hop?
Nashiem Myrick: Wow, first of all the production on that album is fucking ridiculous. People wasn’t taking the time and effort to put into the production what we were doing, you know, we were taking sample based records but making them so orchestra-like, and bigger than they could be. You go back to like Dre would do it. He would get people to come in and play the parts of the sample and take it into a live form. What we were doing was the same, keeping the sample there, and creating on top of that. We added new material, new tracks, and new instrumentation on top of that sample, making it extraordinary. That’s where it took a shift, as far as I’m concerned as a producer. Hip-Hop took a shift, and if they didn’t learn from Dre that you had to do more with the music, and make it more extraordinary, they saw it with the Hitmen and how we did it on that album, and the Mary album prior to that.
U.G. Digital Mag: I agree. I know for a fact that people were sampled who only cleared the samples because of who you were and what they knew your track record to be.
Nashiem Myrick: Right.
U.G. Digital Mag: I look at “Rise” from Herb Alpert, and I know so many artists were trying to clear that, and nobody could, but he immediately cleared it for the Hitmen and for B.I.G., which was amazing.
Nashiem Myrick: We thought we wasn’t gonna clear it too.
U.G. Digital Mag: Angela Winbush, the joint with her was absolutely amazing.
Nashiem Myrick: And we had her come in and sing.
U.G. Digital Mag: I know. That’s just what I mean. It’s a sample, but she sang on top of it, and killed it. Til’ this day, it’s one of the dopest.
Nashiem Myrick: Took her song, and wrote a version just for that sample.
U.G. Digital Mag: You won’t get that with anyone else man.
Nashiem Myrick: No! Especially not anyone with her credibility.
U.G. Digital Mag: So yea, there’s a lot of people who appreciate that. Where does the legacy go in the years to come? People are still buying?
Nashiem Myrick: It’s going to be there forever because of the untimely death of my man. That’s just going to grow the legacy more because it’s the last offering he had. He didn’t even get to hear the album. He didn’t get to hear “Somebody’s Gotta Die” in it’s latest form. 60% of that song was produced after he had passed.
U.G. Digital Mag: Wow.
Nashiem Myrick: It’s a lot of songs on there like that.
U.G. Digital Mag: I would have thought he had finished it all before, seeing as how it released two weeks after he passed. It speaks volumes in terms of the connection everyone had. Now, going back a little, everybody knows you were behind “Who Shot Ya”. The song made people think so much. Was there ever any though just of any drama that could come from what people thought?
Nashiem Myrick: Not at all. We never thought that. I mean, emcees were going at each other unknown, subliminally, but he wasn’t. I was there during the session as it came out. It was never that. it was all fantasy-based. You never thought about drama. His lyrical skills were so amazing that it would make you believe that. But that never entered our minds. We just thought we had a dope record.
U.G. Digital Mag: I really want people to know the many things you’ve done production-wise. Mary J, Scarface, Nas, Lil’ Kim, Jay-Z, Push T, Mariah Carey, and the list goes on.
Nashiem Myrick: I worked with Mobb Deep. It’s a blessing. it was one point where people didn’t know my name. Then one record, and everybody wanted to work with me. That was cool. I wanted to produce for as many of these great artists as I could. I went from being an in-house producer to being one of the hottest producers in the industry.
U.G. Digital Mag: What is there for everyone to see and follow right now?
Nashiem Myrick: I’m trying to put together a Hitmen album. I have a few artists I’m recording now who I will be putting out. it may take a couple years to get it out there, but I’m still working with artists. You just have to look out for it. I will be promoting it. I’ll be out there.
The world of music is in for an amazing treat with the upcoming debut from the soulful Jazz duet, The Baylor Project. Even as a new addition to today’s musical landscape, their history will absolutely blow you away in many aspects. They would come together more than fifteen years ago, their history from there would be cemented in more than one way; musically, and through matrimony. Beyond their personal love for each other, their musical union is fueled but the strength they both carried on their own in the industry, and that strength has grown tremendously since then. Jean had spent her former years as one-half of the powerful, groundbreaking duet Zhane, while Marcus was already a world-class drummer who had been playing all his life. His experiences of playing with many Jazz greats like Cassandra Wilson, George Benson, and Regina Carter only supplement the musical union. Together, they would become a magical and untouchable force in music. They’re range and versatility is undeniable, which will be the very thing that sets them apart from the crowd. Even while they join the ranks of a number of other married couples in music, their legacy will undoubtedly be lasting.
Take a moment to their video below from their forthcoming album, “The Journey”, via YouTube below, and make sure you pre-order on iTunes. The album will officially be available February 2017!
It’s interviews as such that make me love what I do. With this feature, we are blessed with the opportunity of catching up with rapper Tracey Lee! Despite the fact he’s been away from the limelight for 16-years, anyone who was a hip-hop fan throughout the nineties knows just who I’m talking about. Tracey Lee was in the same circle as most of the biggest artists of that era. His debut album, ‘Many Facez’, yielded the huge singled “The Theme”, and “Keep Your Hands High” with The Notorious B.I.G.. Despite the level of success Tracey reached with this album, the shift of the entertainment industry as a whole resulted in his dropping from Universal Music.
With this feature, we’ll actually serve multiple purposes. First, we’ll see how he was able to miraculously turn his life around after losing his record deal, and being kicked out of his mother’s home as a result. The biggest triumph in it all is the fact that he earned his Juris Doctorate, and has since become a licensed entertainment attorney. Tracey is definitely leading the pack, as this is the first time you’ve seen any rapper become an attorney. Not only that, but he’s now making a triumphant return to music. It’s definitely a new site to see a practicing attorney in the scene as an artist, but that is the beauty it. This is a piece that will show artists what they can do in the face of defeat. It also shows them what they can do when they take control of their lives in the right way and apply themselves. Tracey has negotiated contracts now for some pretty powerful artists, who you’ll learn about later in the article, but what’s amazing is now he can now
negotiate is own future projects, should he ever go that route. At this point, that isn’t even a thought. In addition to his law practice work, he’s running his own companies alongside his wife, and ultimately showing other artists that it can be done.
In our interview, we talked about everything from his deal he had with Universal, to being dropped, kicked out, and going back to school. He also talks about starting his family, having his first child, and his ultimate return to music. He lets us in on the very things he took for granted as an artist signed to a major label, that now he’s most certainly up on, and trust that many other artists are in the same boat. A law degree will surely clean that all up though. Knowledge is definitely power! With a more mature style, will he be accepted in today’s climate? Is his law degree a benefit, or disadvantage? He’s telling it all with no filter. We’re taking you through Tracey’s journey, right here at Urban Grandstand Digital.
Urban Grandstand Digital: What’s been going on man? It’s been a long time since you’ve been out there.
Tracey Lee: Oh man, a lot. I guess when I left Universal, which was in 2001, I was trying to figure out my next mission and purpose. The trials and tribulations of the music industry took me to law school. I got my law degree in 2006.
Urban Grandstand Digital: So this was in entertainment law?
Tracey Lee: Yea, well when you talk about a JD (Juris Doctorate) you talk about all aspects, but I decided to concentrate on entertainment once I became a licensed Attorney. Entertainment is where I came from. It’s a natural progression. It was not only to protect myself in future endeavors, but also those behind me.
Urban Grandstand Digital: It’s funny talking about a Juris Doctorate because at one point, I started on a path of doing the same, but I opted to just go for my Masters in Journalism and keep that going. I think it’s outstanding that you did it though. Like you said, it helps as far as learning the business and dealing with the snakes.
Tracey Lee: Absolutely, and trust me, I had no intention on becoming a lawyer. That was the furthest thing from my mind, but because of the situations I put myself in, I knew I had to wake up and be smart about it.
Urban Grandstand Digital: So have you started practicing law now that you have the degree in hand?
Tracey Lee: Actually, I’ve negotiated a few contracts. I worked with Eric Roberson, who is considered the number one independent R&B artist. I still negotiate his contracts, or production agreements to be more specific. Algebra Blessett, I also negotiate for her as well.
Urban Grandstand Digital: Man. Algebra Blessett! Absolutely love her music. She’s someone we’re definitely looking to connect with for the magazine.
Tracey Lee: That’s what’s up. That’s my sister. We go way back, and we’ve done things musically together. Now she has me for her legal stuff. I’ve also done some work with Kelly Rowland. So it’s like, in the midst of being an artist and being creative with the music, I still use my skill set as a lawyer to pick and choose who I deal with in the industry. I also use it to school younger cats who are trying to get in the game. They need it the most because they are the ones who get miseducated and misguided the most about the music industry. I was one of them.
Urban Grandstand Digital: I would think; though, that when you’re in negotiations, the last thing anyone would expect is that you know contract law, and are actually an Attorney.
Tracey Lee: Right, but you know, hopefully and prayerfully, through interviews like this and exposure I look to get in the next 6-months to a year, people will begin to realize that I’m a lawyer. This could also make things more difficult for me though. Now, they know they can’t just sell me anything.
Urban Grandstand: So where are you headed in returning to music?
Tracey Lee: Absolutely. Truth of the matter is I left it from a commercial perspective, but I never stopped doing music. I have tons of songs I’ve done throughout the last 15 or 16 years. This now is my first independent release. I’m a partner with my wife, Left Entertainment. I feel like this is God’s gift. This is the gift he gave to me to profess, perfect and put out into the world. So I release the ESQ Revelations. It’s a culmination of the last 16 years, basically telling the story I’ve been through, the journey I took, why it took me so long, and the purpose here moving forth.
Urban Grandstand Digital: So obviously, the last time you were out there was with Universal, so you were with the majors. What will be the biggest difference now in the fact that you’re independent, and the biggest benefit? I for one think it’s so much better to be independent when you’ve been in this for so long.
Tracey Lee: No question. One of the things I’ve discovered being independent are some of the things I took for granted being on a major. It was more of the administrative aspect than the creative aspect. Things like registering every song with BMI so that you keep tabs on your spins. Making sure you have all codes in place, UPC codes, ISRC codes, and making sure these things are in place so you actually get paid for your work when somebody is playing your record. These are the things I took for granted, but with that said, I don’t mind doing the work. I know now that I control everything that happens. I understand where all my streams of income are coming from.
Urban Grandstand Digital: Not only that, but when you put it in someone else’s hands to do, they tend to slip up when they don’t benefit. By you doing it all, you know it’s done, or if it’s not done then you know why you didn’t get a check.
Tracey Lee: (laughing) Exactly. I can’t point the finger at anyone. Being signed to a label gives you the wiggle room to play the blame game.
Urban Grandstand Digital: How has it been returning to the forefront of music? It’s been a long time since people have heard from you.
Tracey Lee: I’m not gon’ front. I’ll keep it all the way 100. It’s been an uphill battle. You have your naysayers, asking why they should listen or give it a chance. I run into that a lot, but I have faith. I have the utmost confidence that once you do put your ear on the music it’ll blow you away. But here’s the other challenge. The music game has changed, not only from business, but the creative aspect. I have not assimilated with the new sound that is in the commercial market place. I’m from the old school, for lack of a better term. I’m from a school where the sound was different; it wasn’t synthesized, and it was more live instrumentation. It was more boom bap. More kicks and snares. More breaks. These are the things I bring to the table now, which may seem newer to the new generation, but it’s really an adaptation of the old sound, and the old way of doing things. Even from a lyrical standpoint, I’m not simplistic at all. I take pride in owning my craft as a lyricist. I take my time with everything I say. I’m not degrading women. I’m not fornicating, and I’m not selling the youth on an idea of drinking and drugging as a lifestyle. I’ve grown and matured. I’ve lived. I’m not saying I’m a saint, but I lived through that. There’s a new message out here.
Urban Grandstand Digital: It’s great because that’s what you and I want to hear with hip-hop, but do you feel like it puts you at a disadvantage because with everything you’re not doing, everyone else is doing it.
Tracey Lee: It’s interesting that you say it. It’s like the glass half empty, glass half full. Some people say it’s a disadvantage, but I think it’s an advantage because now I’m doing something nobody else is doing. I’m giving you a message. The majority of people will say it’s a disadvantage. Matter of fact, in the gym today, this cat that bought my album said “I love it, but you know some people say it’s ten years too late”. I’m like, who dictates that it’s ten years too late? Is it because you haven’t heard from me in a while? Have you even heard the music to make that determination? Nine times out of ten, you haven’t heard the music. You’re just going on the surface.
Urban Grandstand Digital: I think with anything, you have people who criticize and speculate. It’s just like with Urban Grandstand Digital! We don’t cover when Drake and Chris Brown are fighting, and stuff like that, because to me, it’s supposed to be about the art form, and the talent that’s being presented. All the other stuff is a distraction. But to many, that places us at a disadvantage because society wants to hear the drama and see the madness.
Tracey Lee: But actually you’re working at an advantage. Now we have some place to go if we really want to get into the culture and get a different perspective.
Urban Grandstand Digital: People that you’ve worked with in the past, like Busta Rhymes, do you find that there is support from them with your return? And I only mentioned him because actually, a few days ago I was listening to the track you’d done with him in the late nineties.
Tracey Lee: Not yet. I haven’t run into Busta, or anyone I was affiliated with in the past. That’s just because I haven’t been on the scene. I’m sure when I do see them, it’ll be love. People will be caught by surprise. A few may say what is he doing here? That’s what I look forward. I want to see these people’s faces. I know there are probably some naysayers that counted me out, and it’s funny that when I run across people and hear that I’m a lawyer now, and the reaction you see when they hear I have a new album, this is almost like an oxymoron. It’s definitely a novelty. They’ve never seen anything like this before. I’m looking forward to the reaction.
Urban Grandstand Digital: So talk more about the new material:
Tracey Lee: It’s a combination of the music I grew up on. It’s definitely hip-hop. It’s definitely boom bap. It’s heavy percussion, sample driven, and a mature sound. It’s live instrumentation and background vocals. Heavy lyrical. It’s taking you on a journey of my life over the last 16 years. Getting dropped from the label, to going to law school, to trying to find my way, being flat broke, working at a furniture store in Atlanta. My mom kicked me out of the crib after I got dropped. She said you have to find your way. It’s about me growing up and maturing, and meeting my future wife. It’s about us figuring out what our journey would be together, and eventually having our first child. It’s my life, and I put it all on wax. If you go to my website, or iTunes, Amazon, and Google Play, you can get it. We’re just working now to get traction as far as radio is concerned, but that’s a whole different political game.
Urban Grandstand Digital: So what do we get next? What else is coming up?
Tracey Lee: Shows are definitely on the horizon. We’re in the process of building with a booking agent to see about venues, and who we can attach ourselves to along the same demographic. We’re also looking forward to speaking on panels, lecturing, and different things like that.
Urban Grandstand Digital: So I have to ask where Cleveland fits into the grand scheme in terms of shows?
Tracey Lee: Oh hey man, listen! If we can get there, I’d love to. Cleveland was a big deal for me. I’ve come there a couple times.
Urban Grandstand Live: It’s still a big deal too man. We would love to see you here though.
Tracey Lee: Absolutely. The entire Midwest was a great market for me. Y’all are a problem right now. Y’all got Johnny Football up there, Lebron James! It’s a lot happening.
Urban Grandstand: What else is going on that everyone should know?
Tracey Lee: I must reiterate, Tracey Lee ESQ, The Revelation! In all digital stores! Also on my website. TraceyLeeMusic.com. In addition, we run a company called Lleft Entertainment. We have a publishing side that my wife deals with! We have books out there for the kids. A few books! You can go to Nelsonpublishingbooks.com, or Lleftent.com. They make great stocking stuffers.
Urban Grandstand Digital: I think it’s great that you’ve come back and tapped into so many different things. I mean music, publishing and books, and law obviously! These things will surely keep you out there.
Tracey Lee: Absolutely. What we’re trying to do it tap into the black family and black culture. One of our biggest peeves is making sure these kids read. Put down the Play Station, put a book in front of your face and read. It’s a lot going on in society right now, and they obviously don’t care about us. We want to make sire we are taking care of our own.
Urban Grandstand Digital: Any final words at all?
Tracey Lee: We covered Lleftent.com, traceyleemusic.com, nelsonpublishingbooks.com, Facebook under Tracey Lee Fanpage, Twiteer at @traylee, and I’m on instagram at @traceyleeesq and besides that, thank you for the opportunity to get our voices heard. I want to tell the people that when they’re introduced to new music, don’t be afraid to press play!
We’ve literally watched R&B songstress Mya grow before our very eyes. We saw her come into this industry as a new artist, and she has since become a major force in the independent world. We all know how fickle the music world can be at times, and unfortunately, that can correlate to lower sales figures when in actuality, your core audience is definitely rockin’ with you 100%. As a trickle effect, the major labels may not be as supportive as they once were, and as an artist, it can leave you in a state of shock and ultimately become more difficult to release your projects. Mya has become that example of what can be done when you simply want more as an artist, and you believe in yourself and your product. In a few short years, she has taken the reigns of her career and is reaching amazing heights like never before.
Following a series of independent releases on her own label, Planet 9, Mya has dropped an extraordinary project titled Smoove Jones. Not only is she flexing her growth as an artist, but she’s showing the world that she is high-powered businesswoman. Taking from all she’s learned throughout her journey from others along the way, she’s now handling the marketing, advertising, promotion, overall vision, and so much more. We see so many artists who don’t make it after their time with the majors, but she’s showing that it can be done when the hard work it put in. Obviously representing how much Mya has grown musically throughout the years, Smoove Jones also represents her true independence in this music business.
In our exclusive with Mya, she talks about the process of putting this album together, the difficult, yet exciting parts of being an independent artist, and whether we could see her with another major label in the future. She also leaves us with some amazing advice for all the artists out there considering an independent route. So as Mya would say, sit back, recline, and sip some wine, because it’s time for a little Smoove Talk!
UG Digital Mag: It’s such an honor to be able to connect with you finally. Many of our loyal subscribers have been asking and requesting that we run a feature with you, and we, too, have always wanted to do this, so we’re tremendously grateful to you for your time.
Mya: Thanks so much for having me.
UG Digital Mag: So, getting right into Smoove Jones. I feel like this is some of your best work to date. Every artist wants to feel in their heart that they are not just progressing with the times, but progressing within themselves and their craft. What are your feelings on this body of work, in respect to progression?
Mya: I’m very proud of this body of work. It was birthed from a very pure, free place with no pressure, no interference, no deadlines, just simply the love of music. So to create from that space is progression itself. I have musical influences from the 70’s, 80’s, and 90’s throughout the project, with some complimentary hints of now with joints like “Team You” & “Spoil Me”.
UG Digital Mag: Talk about the progression of your work in general. You’ve always brought your A-Game in terms of being sexy, sensual, and the overall theme of love with your work, even beginning with your single “All About Me”. I remember you doing “My Love Is Like Wo” and thinking damn, she is really taking us there. Of course, you did your thing in Chicago with the musical numbers there, and moving forward over the years, you seem to elevate. So now we’re at Smoove Jones, which is a Valentine’s Day release, and you seem to be at an even higher level. How did you plan for this project in terms of what you wanted to bring forward?
Mya: For this project, I just wanted all positivity, uplifting feel-good vibes, drama-free, elevation music, whether on the dance floor, in the car, at the club, in the living room, at work or behind closed doors. Smoove Jones is a radio personality & show who serves her listeners based on their special requests. They have consistently said they don’t listen to the radio anymore and asked me for some “Real R&B.” So they inspired me to create my own fantasy world and radio station. Somethin’ for the fans that have grown up with me over these last 18 years, you know? We grown folk now. (laugh)
UG Digital Mag: You worked with some pretty amazing people for Smoove Jones in terms of writing. Obviously Terry Lewis had his hand in things, Kalenna Harper worked with you on “Hold On”, a track which I especially love. How did you, and do you, determine who you want to work with for your projects? What were your plans, or expectations, in respect to Smoove Jones and what you wanted fans to get for the final outcome?
Mya: I am always writing, recording, experimenting and practically live in the studio. Being an independent artist allows me a limitless playground to create. Over time, I’ve worked with so many different people. There’s really no one particular process to getting in the studio with folks. We chop it up on the phone or email, set up a time, and take it from there creatively or they’ll send me something to download, I vibe to it in a completely different city, state or country… and we build from there. For this project, I wanted to give more of an experience with musicality & R&B roots.
UG Digital Mag: What was timing in putting this together? How long did you work on this project?
Mya: There was no particular in timing in putting the project together. With the exception of the intro, the outro & Coolin’, I’d recorded the other songs over the course of the last 3 and a half years which were just sitting amongst an archive of unreleased music. I handpicked what I thought would work best together for another grown & sexy themed project to complete the EP of the Planet 9 EP Series. The Smoove Jones title came to me around October 2015, when I started going through pictures to assemble the 2016 Calendar… I said “That’s it…that’s the cover right there! That’s Smoove Jones. That is HER & that’s going to be the title of the next EP.” Now, the crafting of the calendar, the digital booklet, all of the paperwork, mixing, mastering, design, packaging, metadata organization & manufacturing of the physical CD was all done in-house through my label, Planet 9… I’d say it was at least a 2 1/2 month process.
UG Digital Mag: I’m not one who watches the charts constantly, but from what I can see in terms of your fans, the album is doing great.
Mya: That’s great, because I certain don’t pay attention either. I’m just happy that my music is in the universe having folks feel some type of way (laughs) and is being received well.
UG Digital Mag: So let’s talk a little about the independent world. You’ve been independent for a number of years now. You’ve released a number of projects, which in my eyes have been quite successful, and you’re now on your latest which is doing phenomenally. What difficulties have you had along the way? How have those things gotten better over the years?
Mya: Well being independent and managing to pay for your projects & put them out into the universe yourself is quite a success. But coming from the major label world, my independent projects might be looked at as a failure from some. Some of the difficulties have been not having enough time in the day to wear every hat. I enjoy the process and making sure the product is right, but damn it is a struggle trying to be 20 different people in one day (laughs). And I often laugh at & even question myself… “like damn… you are either super passionate or you are just insane.” I guess the two go hand in hand. Difficulties… Well because I am not supported by a major budget which pays for marketing, promo, advertising, radio & TV time, the perception has been that I quit singing. But it’s actually been the complete opposite. I’ve never traveled, performed, recorded so much, pushed out this many projects or actually recouped & profited this much in my life… the way I have in my independent journey. There are many things that could be better, but many things that could be worse. But one thing that’s gotten better is my art, self love & knowledge of business that only doing time in the trenches can teach you.
UG Digital Mag: I have the debate with artists often in regard to being independent, and I’ve always felt like it was so much better being independent, in terms of freedom, marketing and promotion abilities, and so on. I’ve always felt that nobody can sell or promote you better than YOU. Having been independent for a good deal of time now, would you go back to a major label deal?
Mya: I will not entertain any traditional new artist deals. Been there, done that. I am however open to entertaining the proper partnership deal.
UG Digital Mag: So back to Smoove Jones. What are your plans in terms of promo, touring, etc? Have you even had time to think of shows yet?
Mya: I’ve already done some spot dates prior to and during the release. I’m in rehearsals & live band rehearsals right now for a Smoove Jones promo tour. All dates can be found on myamya.com/events
UG Digital Mag: “Welcome to My World” and “Team You” have done amazing. Have you looked at additional singles at all?
Mya: I’m letting the fans decide what they want on radio and/or video. Now that they have it in their hands and they can live with it a little bit, whatever they say goes & will be. I’ve been listening.
UG Digital Mag: I applaud you for the work you have done with your career, transitioning from the majors to being independent. You’ve managed to stay afloat, taking full control of your artistry and product, and the results have been nothing short of amazing. What are you most proud of with your transition in music?
Mya: Thank you so much. Well I’m most proud of my faith, strength & resilience. I’ve discovered first hand that there are great lessons to be learned about self and life in every devastation, loss, change, etc. The greatest gift in my life has been the gift of music and all of the wonderful possibilities it possesses. I’m also proud to say I’ve finally arrived at the beginning of true artistry, craftsmanship & knowing what I’m made of which is a beautiful place to be, create & share from.
UG Digital Mag: I always ask artists what type of encouraging comments they like to offer to fans who are looking to pursue and do similar things in music, but I open this question up to you in regard to other artists. Given the experiences you have had in music, beginning with the major labels, and ultimately becoming this major force in the independent world, what advice do you offer to other artists who are considering an independent route, or are in a situation where independent may be their only option?
Mya: Faith first. Stick with it. Love it by breathing it. Treat it like school. Do the work and calculate every year as a grade that you’ve passed. Graduation takes time. It may take years, it may not. But usually great preparation for long term goals will & most certainly do. Live smart & simply so that you may invest in YOU, the quality of your product, brand & presentation. The pay off is not now. The pay off comes later after you’ve delivered several great meals whether operating as a small restaurant or a large one. Go out and meet as many creative, artsy & business folks that you can benefit from and be a benefit to. Ask for help. Build your team & create from a place of freedom. Remember.. it ain’t just about you. It’s about how you can serve people & raise them up. And remember to help or repay those who have helped you reach your goals for free.
UG Digital Mag: Finally, what final comments do you have to your fans?
Mya: Thank you, thank you, thank you for the opportunity to serve you at Mya’s (vegan) Chi’kin & Waffles. I’m sure y’all are so ti’ed of these daggone sides & appetizers. But we are currently developing what I believe will be our most popular main course. So for now, lay back, recline, sip some wine and enjoy these taste testers on Planet 9. The grind is for realz! Appreciate your patience.
There’s something about music of the nineties that we just can’t seem to let go of. Whether it was the sound, the way it made you feel, or the amount of time, effort, and overall work that you knew the artist was putting into it, it's something that forever stays in the minds of so many music fans today. It’s why when artists like Ida Divine come around, they instantly do well.
While Ida Divine is well aware of the time period she’s in, and her music is very well within this time frame, there’s no denying that her music offers a bit of nostalgia when it comes to what we were accustomed to in the nineties. Her music definitely invokes that spirit, and that overall feeling of happiness. Once you realize she’s working with Herb Middleton himself, it all becomes rather clear. Middleton, as many will remember, was a part of the huge circle that included Puff Daddy, Faith Evans, Mary J. Blige, and so many others. He was instrumental in building the musical landscape of Evan’s self-titled debut, and Blige’s My Life. Obviously, his worked continued on with a host of other artists throughout the years, and now he’s back in the market for building that artistry from the ground up again.
With Ida Divine, the union couldn’t be any better. Their styles matched together has proven to be a golden combination. One listen to Divine’s “I Rise to the Top”, and you’ll understand just was I mean. Her path has been written, and the stars are definitely aligning perfectly for her.
In our feature, we talk about the album for sure, but we also talk a lot about her humble beginnings, and just what she has in store for the world. She’s worked hard to get to this point, and the doors are now opening wide for her. Her union with Herb Middleton is something that has been properly serving to both of them. She was at a point where she needed that special somebody to get her to the next point in her career, and the same applies for Middleton. He was in search of that special somebody to take his company to the next level. From that, came Divine Intervention!
UG Digital: Thank you so much for your time. We’ve been working so long to put this together. It’s exciting to connect with you because I love your album. I love the movement you’re making, and I haven’t seen it in a long time from an artist. There’s something about the stuff that Herb puts together.
Ida Devine: It’s very nostalgic
UG Digital: There’s a quality in your music that is not heard anymore. Kudos for that...
Ida Divine: Thank you for appreciating it, and thank you for your musical ear. If you have a music ear, you know what sounds good, and what connects you to the music you grew up with. That’s the main thing I aim to do with my music, just to give people something that’ve heard, but in a new package.
UG Digital: So talk about your start in music?
Ida Divine: I’m originally from Staten Island, from the same projects where Wu-Tang came from. I watched them before they got on, and they would always be in these cyphers. They would always be freestyling in a circle. Funny as it sounds, I started to feel like I could be in Wu-Tang (laughing). I started writing raps and poetry. My mom is Jamaican, so she played a lot of roots reggae, dancehall, Sade, and american music as well. Everything combined, it played a key factor in what my music is now. That’s when I started thinking I could be a musician. I was 13 at that time.
UG Digital: As cheesy as it sounds, I’ve always recognized and idolized the people coming from that area, and places like the Bronx, and Brooklyn, and just NYC as a whole. I also look at those from Jersey. I think the fact that you're from Staten Island speaks to your music and the quality. You think of Lauryn, who comes from Jersey, and it’s the same thing. You remind me of her in many ways.
Ida Divine: That’s such a great thing because she’s one of my idols. NYC is an inspiration for musicians from anywhere. If you’re from anywhere else pursuing music, and move to NYC, you’ll be inspired. It’s not the easiest place to live, but the intensity feeds into the music. I've lived in the South for a little, which was much easier, and I created great music. I was raised in NYC though, so I carry that survival type of mentality.
UG Digital: That mentality, and that spirit of hustle that so many people in NYC have, how has it helped you in jumpstarting your career? You mention how much easier it was for you in the South. How has that spirit helped you to continue to build in NYC? I imagine that it has to be difficult in getting people to pick up on it?
Ida Divine: One of the tactics I use, sadly, is being a woman (laughing). You have to use it if you want to get any further. When you see a female artist, you look at them physically, then you listen. That’s just human nature. In Charlotte, trap music was getting really big. I would write a rhyme, and I would freestyle over a trap beat, but sing it. I noticed it was getting a lot of attention. It was strange because they didn’t know what to do with me. I would go to these open mics and be the only girl there rap-singing. From there, I gradually went into singing and then got management. It started with hip-hop though. I just got in where I could fit in.
UG Digital: I know I said you remind me a lot of Lauryn, and when you look at her beginnings and where she started, there was never any hiding the fact that she was beautiful. People saw it, but I don’t believe they ever knew the fire she had to offer until she really put it out there. You fast-forward to now, and she has been running nearly 20 years off one cd. I feel like you’re going to mimic a lot of that.
Ida Divine: When I look at her, I look at where she comes from. She comes from a good household, and obviously came from the suburbs, but I believe it plays into her message. It doesn’t matter where you come from. If you have a message, you need to share it.
UG Digital: A lot of people go through the same struggles regardless of where they’re from. A lot of people in the suburbs sometimes have things a little worse because they may not really be affording that lifestyle and they’re working harder to maintain.
Ida Divine: That is something that people would never know. You look at them and think they have everything, and then they’re shrouded away from the inner city. Someone like her probably craved that inner city culture. I’m glad she’s here and doing her thing. She did the Nina Simone remixes. It’s great.
UG Digital: So for you as an artist, knowing the stress behind promoting your product, I don’t think anyone would get into this unless they knew they had something. What for you made you feel it was a sure thing.
Ida Divine: You never know if it’s a sure thing, but you get little signs that tell you that you’re on the right track. The first one I got was early. I have two boys, and we were watching Fantasia on American Idol. My oldest was like mom, you can do that. From there, I got other little signs. I started to open for a lot of artists coming through Charlotte, like Dead Prez, and Raekwon. Those type of things really give you confidence. Over time, it becomes more of a sure thing.
UG Digital: What was the reaction, obviously you being in the south, and then somebody like Raekwon comes through that's from where you come from?
Ida Divine: I think it was more like what is she doing here. Keep doing it. I always got positivity. I opened for Lady Saw, and she was great. She travels by herself, and she had her DJ with her. She was just like keep going. If they want you to take your shoes off, take them off and give them to them. I’ve been getting great feedback from these legends when I meet them. They tell me to keep going.
UG Digital: I think you’re doing it. You’re so seasoned, and you know what you’re doing. You’ve clearly worked hard at putting your package together. In this day and time, where do you feel like you fit into it all? Given the nostalgic feel to what you offer, and the fact you’re working with Herb...that’s all good, but you have a lot of people who are going to look at it’s old school.
Ida Divine: I do have a vintage sound, which is attributed to the production I choose. He has a very classic sound, like classic 90s R&B. That’s fine, and I love that. I also do a lot of other things, and you’ll hear it through the production. For instance, I have a track that is like techno-hip-hop. I think that I fit in where I want, but I remain true to my sound which is soulful. Also, I can see a true school kinda 90s genre or nostalgic vibe coming back. Like boom bap is coming back.
UG Digital: I think it definitely is. In terms of your artistry, what is your goal?
Ida Divine: I want to have a Rachelle Ferrell type of following. She can sing whenever or wherever she wants, and she is good. If I’m not on TV or radio, that’s cool, but if i have a room full of people wilting for me to come to their city, I’m cool with that.
UG Digital: You’re well on your way to building that. There’s a song you did that used the same sample as Kanye and Jay-Z.
Ida Divine: That song used Otis, and the song was Groove is in the Heart from Dee-Lite.
UG Digital: I love that song. I thought you were killing it.
Ida Divine: I like to mash up music, and do multiple covers at a time. It’s fun for me.
UG Digital: That’s what’s allowing you to connect with listeners. We want to hear music. Some of what’s out today is so manufactured, and you get sick of it after a while.
Ida Divine: The same drum patterns, and same voice recognition. I get it. That’s what soul music is about. It’s authentic because it comes from the soul.
UG Digital: In terms of you being with Herb, he’s one of the biggest names in there industry, and I think in the same respect we second guess ourselves, so I don’t think he realizes how big he is.
Ida Divine: Herb is so humble. You can’t tell him who he is. He’s like “oh no, I worked with Usher once, he was cool”.
UG Digital: I’m like, does he realize he was behind Faith and Mary?
Ida Divine: He did. There’s someone that said he was the diva maker (laughing)
UG Digital: He and I connected at the time we did the Faith Evans issue. In reaching out to the individuals involved and he jumped at the opportunity.
Ida Divine: That’s great, and I just wanted to tell you before you go any further, thank you for that! Faith is one of my favorite artists in the entire universe, and she’s from Jersey. She had that hip-hop and R&B soul. I don’t think she gets the recognition she deserves. I couldn’t get enough of her. Thank you for doing that.
UG Digital: She was the first artist that I stepped out there and put together a full issue for. It’s ironic because when her cd dropped, I remember where I was the day it dropped, and as connected as I was to music, I don’t think I could appreciate it for what it was at the time. Like a year later, I worked at an amusement park which was like an hour from home, and it sits on an island. I had this lonely sense where I felt like I was alone, and her album carried me through that period. What amazed me about doing this issue is when I reached out to her team, they were excited and participated. I don’t see other magazines doing that. As a journalist, there’s always been the saying that you want to always remain objective, and fewer journalists put their true emotions into their work, but I want to show through my work that I truly am a fan, obviously without being crazy with it (laughing).
Ida Divine: It’s kind alike Unsung. It has become so popular and huge because there is a hunger for seeing how the music came about.
UG Digital: You connecting with Herb, did you know his track record? How did you come together?
Ida Divine: In Charlotte, I was managed by two females, which was a big part in why I was media trained. They did all kinds of things with me. They had a woman who did PR. She did her own events as well. She said she knew I was going back to NYC, and she connected me to Herb. I was getting away from rap, but he was looking for a female lyricist. I sent him various things, and he wanted to do a project. Once I googled him, I was like “oh shit”. I said from that point, I would make sure I was dedicating time to creating, and allowing myself to listen. I know he knows what he’s talking about. He lives out of state. I had to travel to get this album done, and I’m so happy at how it turned out.
UG Digital: It shows your love, and how badly you wanted it.
Ida Divine: I had to. I also work in the healthcare field, and I work third shift.
UG Digital: It’s funny that when I called you one day, I had that sense immediately that you were in healthcare.
Ida Divine: Yes indeed. When that shift changes, you become instantly tired. Sometimes, if I knew I was recording afterwards though, I would gear myself up at about 4am, and put every bit of energy into it. I’m glad we can all hear the intensity.
UG Digital: Where are you as an artist in the next five years?
Ida Divine: Next year, I’ll be going to Birmingham, and doing some work in the UK and London. My music has been over there for a while. I’ll do a small run over there, and build it up. I’ll possibly get into some Broadway as well. I’ve been doing some auditions.
UG Digital: I think it’s amazing. Going to the UK, things pick up so strongly in terms of music that the sky will definitely be the limit. You’ll be at an unbelievable level.
Ida Divine: They constantly check for Soul Music artists. They look for them. A lot of artists go there and get the recognition they want. Then when they come back here, it’s reciprocated. I see that happening. I’ll dedicate a good chunk of time to learn their market and connect with the fans, DJs, and promoters there.
UG Digital: In terms of final comments, what do you want to get out there to your fanbase?
I want them to purchase I Rise to the Top. I’ll be in Philly in March at Warmdaddy’s, and at BB King’s in February. I’ll be back down south as well.
It always amazes me when I see young artists who are on their grind. For as hard as you see some younger artists working, it's still not necessarily the norm. Connecting with Slate, we knew it would be an opportunity to spotlight his upcoming performance showcase, but it turned into a greater cause. Anytime we get the chance, it's important yes we recognize the hard work that artists are putting into their careers, their passion, and so forth. Slate is working tirelessly and diligently at building his career; so hard that it's hard to believe he's still technically a minor. In just a few short years, he's built a name in music that is sure to stand the test of time, given the amount of work he's out in. I mention his showcase again, primarily because while most artists would wait for someone to organize such an opportunity for them, he took the time and organized it himself. Just listening to him speak, you realize immediately just how articulate and well-spoken he is. He's definitely wise beyond his years, and you'll see that in our exclusive. He gives us the rundown on his upcoming showcase, his upcoming EP, and the big announcement he plans to make later this month! We're excited to present to you: SLATE!
UG Digital Mag: Greetings to you. I appreciate you for your time today. I know you’ve worked really hard for a few years to get established. Begin by talking about how you ended up in Atlanta, given you’re from New York.
Slate: There’s not really much story behind it. I came home from school one day and my mom said we were moving (laughing). I didn’t really want to. If it were up to me, I would still be in New York, but she made the decision.
UG Digital Mag: I think it turned out to be a good thing though. There’s so much happening in Atlanta which has proven to be good for your career. It’s a good thing, and you’ve been blessed to showcase your talent. How has that transition been, given the fact you initially did not want to go?
Slate: As an artist, it hasn’t been that bad. I wasn’t really known as a rapper. In New York, I had just started rapping. I was known as an actor. As an artist, it wasn’t that much of a transition. It was more like I was just trying something new. Although I had been rapping, I just wasn’t doing it for that long. Being here, everything was new to me. The weather is weird, the slang is weird. It's like everyone has accents. I had to learn the same things in school over again. Eighth grade math here is seventh grade math in New York. The same thing applied for science. It was difficult to adjust, but now I’ve been here a long time so it’s much better.
UG Digital Mag: You say you were known as an actor. Had you acted in a number of things? What types of things had you done?
Slate: I was a child actor, starting at age seven. I’ve been in plays, commercials, tv shows, voiceovers, and print ads. I’ve done multiple Chuck E Cheese spots. I was on the Electric Company. I’ve done a lot as an actor. That was more what I was known as. At first, I was going to continue with that.
UG Digital Mag: I think it’s great though. What’s the one thing you feel that you represent as an artist, considering you’ve made the transition to music?
Slate: I guess it’s the honesty. I mean, people always ask me what I rap about. I feel like it’s a weird question because I don’t rap about just one thing. I don’t pigeonhole myself that way. I rap about life, whether it’s mine, or that of those around me. I feel like I represent honesty and transparency. I make sure my music comes from the heart, no matter what I’m talking about.
UG Digital Mag: Now you have a showcase coming up. As opposed to it being something you are going out for, you’re actually putting this on yourself. Talk about that.
Slate: This is my first show that I’m doing myself. It’s called the Even Experience, and It’s coming April 30. It’s a performance showcase. I’ve been working hard this past two years on my upcoming project. Aside from that, I have a major announcement coming up. I wanted a way to present those announcements along with my new music. When I did my first mixtape two years ago, I had a listening party while celebrating my birthday. I killed two birds with one stone then. This year, I really wanted to put on my first showcase. I’ve grown as my artist, and rather than have a listening session, I wanted people to come out and vibe with me, and see me perform. That’s exactly what it is. It’s going to be something to speak about.
UG Digital Mag: What’s the outcome of the showcase for the other artists involved? Aren’t there other artists involved?
Slate: Yes. There are other artists that me and my management will seek out that will come to showcase their talent, leading up to my performing. It’s a way for me to do a couple of things, like, I’ve performed a lot, but I’ve never had a full set. I’ve done one, two, and three songs. I wanted to get the experience of perfuming a full set. I’ve made the transition, and an announcement is coming up. I feel like that will be the biggest thing of the event.
UG Digital Mag: It’s definitely good to see you do this on your own. You don’t see that with a lot of artist, especially the younger ones. Many of them are not as involved in their careers as you are in yours. Why was it important to be able to do this for yourself?
Slate: Just in taking control of my career, musically, I’ve always been in control. I wanted to have the experience of putting on my own show, and say that people came out to see me. I wanted the feeling of knowing they came out because they wanted to see me and what I was showcasing. Rather than waiting for the opportunity to come down the line, I wanted to take the bull by the horns. I want it to be something that grows and is successful so that I can have another Even Experience. I want to grow as an artist and give fans the chance to grow with me.
UG Digital Mag: It’s clear that as an artist, you’ve learned a lot about how to present yourself. Looking at your predecessors, what are the biggest things you learned from watching them?
Slate: Mainly, the hard work side of things when it comes to perseverance and grinding. A lot of people think that talent alone will get you to where you want to be. Talent is great, and you definitely need it, but that's not all it takes. There’s always a great rapper who never makes it, or a great basketball player who never makes it. The difference between them and a Steph Curry, or Kobe Bryant, is the work they put in.
UG Digital Mag: You recently released your latest project, I’m Sorry, Soon. Where did the the title come from?
Slate: Basically, all 2015, I talked about the EP coming soon. Needless to say, I’m still working on it. Rather than rush it, I wanted to give the fans something to hold them over. The title is just saying, I’m sorry it’s not here yet, but it’s coming soon.
UG Digital Mag: Who were people you were able to work with in putting it together?
Slate: It’s been close knit. I worked with one engineer for both projects. When it comes to collaborations, it’s been in-house. It hasn’t been too much outside interference.
UG Digital Mag: What’s coming up next aside from the EP? Is there even a date yet?
Slate: No date yet. I have a goal, but every time I speak it, it doesn’t happen. But it’s definitely coming soon. We’re almost there when it comes to the finish line, but I’m not rushing it. It’s definitely coming soon. My single for the EP will drop at the Even Experience. That’s what the focus is. We’re trying to make sure there are as many people as possible to vibe with me and support me. April 30th! After that, it’s just going to be post-production. From there, when I’m ready and content, the people will have it.
UG Digital Mag: I would love for people to continue checking you out. Where can they find you online?
Slate: My social media for Twitter, Facebook, Youtube, and Soundcloud, it @LyricalSlate. Youtube as a lot of performances, and SoundCloud has both of my projects. My Instagram is @CantHateSlate
UG Digital Mag: Any final comments at all?
Slate: I just want to thank you for this opportunity, and I’m stressing the Even Experience! April 30th at the Karma Bistro, in the SkyBox. 1179 South Hairston Road, in Stone Mountain. Doors open at 4:30, and it goes from 5pm - 7pm. Single is coming April 30th, and EP is coming soon!
Photo Credit: Nu Vybe
Celebrating over 25 years in music and entertainment, multi-genre songtress Alyson Williams releases her first Christmas single, “Happy Holiday” and her first recording in ten years. Written by Williams and produced with longtime collaborator Herb Middleton, the single also features acclaimed saxophonist Dean James. “I’ve always wanted to do a Christmas album, but was never able to record it,” says Williams. “With all the acrimony, vitriol, and hateful messaging during this Election season, we decided to release a single for the holiday and follow-up with an album next year,” explains Williams. She was inspired to write “Happy Holiday” on Election Night, Tuesday, November 8th.
“After an extremely rough night of watching and waiting with the rest of the world, I realized that before I dozed off to sleep I had to compose a song,” says Williams. During that night, she heard the gentle voice of her mentor, Dr. Maya Angelou saying ‘Baby, use your words, find my words,’ which prompted her to use excerpts of Dr. Maya Angelou’s poem, ‘Amazing Peace’ in the spoken word portion of ‘Happy Holiday.’ “When I looked closely at the lyrics, I realized that I had written a song that had all of the makings of a modern day holiday classic.” With “Happy Holiday,” Williams’ R&B and jazzy vocals reflect the traditional sounds of a Christmas classic: Gathered round the table family is everything/Jingle bells familiar smells all the things the season brings/Shiny lights red, green, blue and white Moma’s sweet potato pie/These are the things the holiday brings, things that make your spirit sing.“In a world full of turmoil and strife, true beauty will always find a way to rise above and show us a ray of hope,” Williams continues. “We must all spread love throughout this holiday season and beyond and continue to be inspired. What the world needs now is love, peace, and understanding. I feel doubly blessed to be able to see the creative process work in real time.”
Take a Listen: “Happy Holiday”
https://soundcloud.com/nuvyberecords/happy-holiday-alyson-williams-feat-dean-james
Itunes
https://itunes.apple.com/us/album/happy-holiday-feat.-dean-james/id1179758169?i=1179758217
Peep the latest visual from Penny Shaw & the hip-hop classic #IllCityBlues, titled Questions!! Then. Check out our exclusive with the man himself! The Art of Integrity is now available here at UGDigital.com
For all the interviews I do, there’s always an artists who sticks out like a sore thumb, and Penny Shaw stands strong in that bunch. I’m so proud, beyond words, to have the opportunity of presenting him to you and the ever-growing audience here at U.G. Digital Magazine. Much like we’re selective in regard to what we cover and present here, he’s an artist of the same nature. In an industry that has become saturated with nonsense, Shaw stands mightily on his own level. He’s taken the time to build a brand, not from what he’s been surrounded by, but what he, himself, wants to see from an artist. His brand is based on what he wants to represent, how he wants to be remembered, and ultimately, what he represents in life. As the title suggests, it’s all in the Art of Integrity.
Never is it about bashing anyone here, but I will be honest though. Integrity in this business is at an all-time low. There’s so many who conform based on what the rest of the crowd is doing, and it’s beyond refreshing to come across an artist who, although they want popularity, is not willing to budge against their own beliefs, style, and character to attain it. What also reigns clear, not only from this conversation, but just from looking at his journey is when you’re free and willing to be yourself, the popularity is inevitable. Penny Shaw is coasting at an all-time high, and as he puts it himself, he hasn’t even reached the pinnacle yet. Trust, it is coming though. It’s only a matter of time.
In our exclusive, we talk, not just about the simple stuff, but we really get into his mind about his journey thus far in the industry, and how Ill City Blues has put him on that level that so many aspire for. He talks openly about the work he’s putting in as an independent artist to build his brand, who inspired him from his own neighborhood of Queens, the unity he’s built among his team that is ultimately pushing him to the top, and so much more. I’m proud of this feature because among everything, Penny Shaw represents the type of artists that I as the publisher LOVE to present here. His artistry and character is what I envisioned in the artists that we would spotlight with U.G. Digital. Hopefully, you all love his story!
With that being said, I present to you: Penny Shaw: The Art of Integrity.
U.G. Digital Mag: Again, I appreciate you for your time. I love how different you are from everything else out today. I talk to a lot of people in general about the changes in hip-hop. I’m almost 40, and I never want to sound like my parents, but I feel like a lot of the direction hip-hop has gone, I struggle to get into it. The good thing is there are a number of people like yourself who are taking it back to the roots and the essence, if you will, and they really have something to talk about. I believe you’re one of those artists. How difficult is it for you to remain different, and be yourself, given the climate of music?
Penny Shaw: I appreciate you saying that. At one point, it was really frustrating for me. To take a step back, everything that’s on the radio that’s popular, it has a certain sound to it. The way rappers are flowing, it’s almost a copy of someone before them. I think maybe two years ago, it was frustrating. I questioned if I was taking the right path. It felt right, but it’s like everyone else is doing something different. I guess you just kinda navigate through life. With my last project, it was really about finding myself, going through a slump, and just getting through it. It helped to find myself. I’m so comfortable right now that it’s not even funny. I’m comfortable with what I do, and I understand a lot of people who are pushing the envelope and doing different things, it won’t be the most popular immediately, but in the long run people will look back at my catalog and understand that this kid is rapping about what his life is really like; the things that others are scared to talk about.
U.G. Digital Mag: I’m glad you touch on popularity. To me, what you have should be revered a bit more. You think of the artists like Kendrick Lamar, and I place you at that level. I think in the beginning, people weren’t necessarily leery, but they didn’t tap into Kendrick Lamar the way I thought they would have. Now, obviously, the world is behind him. I look at J. Cole, who I feel still doesn’t really get what due to him, but I feel like he’s one of the dopest out there. Does it bother you, knowing that it takes so long for people to catch on, or they sleep on what you have due to the differential content? You speak of being comfortable, but is there ever that part of you that wants to tailor your music to what people have grown accustomed to in hip-hop? Even relating it to our mag, there’s certain things that I’ll admit to watching, but you’ll never find that type of content in our pages because of what I feel like I want to offer the reader. It makes us suffer a bit in comparison to all the other digital mags, blogs, and such, but for me it’s the principle, and it’s non-negotiable for me.
Penny Shaw: That’s a loaded question in itself. A lot of it is somewhat perspective man, because I definitely agree. A lot of people around me, they say people really slept on me. Even when I do shows, people come up and ask if I’m signed, and I say I’m doing it all myself. That’s technically the reason why I incorporated the name Penny, because it’s often overlooked. I said OK. This is a lot of people where I come from, so I’m going to embrace this and speak for them people. It’s really perspective because if you take a Kendrick or J. Cole, they may not get the props I feel they deserve, but it’s perspective because J. Cole is doing a million with no features. His fan base it crazy. Kendrick Lamar with the Grammys, I mean, he has a couple classics. Some people are lucky if they even get one. I feel like longevity-wise, they will get theirs. I’m not too worried. I’m not going to say I want to be underground forever. I want people to hear my music. I’m not one of those guys who wants to sit underneath, but I’m not willing to do certain things just to get there.
U.G. Digital Mag: You also mention doing it all on your own. I look at artistry, and I feel like independence should be the goal. I know that’s backwards considering how most begin, but I do believe that. I look at the big picture, or grand scheme of it all. There’s a lot more money to be made, and a lot more respect to be gained. There’s a lot that goes into being independent obviously, and a lot of artists are not ready to put in that kind of work. Where do you sit in regard to that? Would you want to be anything aside from independent? Would you sign to a major label, or any label for that matter?
Penny Shaw: I always say I will never rule anything out of the equation. I was good at writing music, and making songs. I didn’t realize that for as long as it takes you to make you a song, you need to push it for just as long, if not longer, just for it to make it. Nobody will hear it otherwise. So myself, and one of the guys who also produced my project, he owns the studio that I record at. So it’s myself, him and this dude is a jack of all trades. He’s a producer, he does mixing, videography, and one of my other boys is into videography. So it’s really me and my peoples. We’re doing this, and they’re like “we’re going to make this work”. These guys are helping me. I would say independent artists, not even just making music but pushing yourself independently, it’s frustrating as hell. Sometimes it’s like, I don’t want to do this. I don’t want to email this person, or take care of these logistics. At the end of the day, if the right deal comes to me, then it’s really like, I’ve been paying for this, that, and the third. You need to be able to offer me better. I should not be able to do your job better than you.
U.G. Digital Mag: That’s perfect in that sense. Should the opportunity come along, you know immediately if they are trying to play you because you’ve already been doing it yourself, and doing it well I would add. With everything you’ve done already, you’ve built a massive amount of success alone. There’s not much they can offer you that you haven’t already provided for yourself.
Penny Shaw: Exactly. And it’s really just the dollar amount. That’s really it.
U.G. Digital Mag: I think the setup you have is perfect. You have a massive amount of success already, and it’s only going to get bigger.
Penny Shaw: Definitely. I’ve just been blessed. I don’t even think I’ve reached anywhere close to my potential, and I’m still being blessed with so many opportunities. Even artists that are “so-called” bigger or more popular, they don’t get some of the looks and opportunities. I’m just blessed that people look to me and my music for certain things.
U.G. Digital Mag: Obviously, you come from Queens, and there’s so many artists from there. You have L.L., you have Run DMC, and so many others man. Who were those artists that you listened to, and not so much emulated, but moreso who you looked up to? Who is or was doing it where you want to get to their level?
Penny Shaw: Queens has a long list of artists man. I would say I didn’t necessarily grow up to them, but I’m a student of the game so I went back to all the classics. Actually, they just put up Phife Dawg Way around my neighborhood, right where A Tribe Called Quest was from, so I had to go back and listen to them. They’re one of my favorite groups. Mobb Deep, but my biggest inspiration from Queens is Nas.
U.G. Digital Mag: Surely he’s one of the dopest out there man.
Penny Shaw: Yea, most definitely. It’s funny because usually you had to pick which one, between Jay-Z and Nas (laughing). It was like, I remember being more partial to Jay-Z. I don’t know if I even understood what he was saying. I think I just liked it at the time. As I grew up, and understanding more about Nas, I realized his poetic flow was so intricate. I would say he inspired me because of his career, ups and downs. He pushed the envelope, whether it was with the Damian Marley album, or the song with his pops, but he did a lot of things to push his creativity forward. I really respect that.
U.G. Digital Mag: I look at him and Jay-Z both. Jay has clearly been out there, but so has Nas. 1995 and 1996, it was my first year of college, and I can remember Nas had out Street Dreams, and If I Ruled the World with Lauryn Hill, and that was like the introduction to him for me. It made me go back because he definitely had hits before that moment. Even just until that point, that was 25 years ago. Like, he’s done so much, and inspired so many. It still sounds fresh, even when you listen to him now. He’s not dated, but he still sounds fresh. I would also lean more toward Nas, looking at how he has maintained through it all.
Penny Shaw: Listen man. 25 years. I heard that artists are lucky if they get to two major albums.
U.G. Digital Mag: Definitely, because tapping back to the independent side, there’s a lot that you know because of your independent status, and most artists have someone doing those things for them. So when it comes down to sales being low, or people not knowing what they’re doing, or the labels don’t stay behind them, it results in them falling off. Keeping it real, many don’t get past the first album. For the time you’ve been here, and looking at careers of artists like Nas and Jay, it says a lot to be here and have that longevity. It’s hard out here artistically, especially as an independent because you’re fronting the money before you get any money. It takes time to put it together, and promote it, and it’s not cheap.
Penny Shaw: Right. It takes money to make money.
U.G. Digital Mag: So where do you see things moving? You’ve had a number of projects out. You get a lot of accolades for Ill City Blues.
Penny Shaw: We put it out in March, and we kinda just let it run. Then August and September I was basically doing shows in the Northeast. We did a few shows in New York. We went up to Boston and opened for Ras Kass, and I was able to go to D.C. and do this huge music festival they have called the H Street Music Festival, which brings thousands out. During that time, we’re filming all these videos. We just launched the first video, Questions, a few days ago. We haven’t even started our run for Ill City Blues yet. It’s just the first of many visuals we’re putting out. This weekend, I’m actually having my own pop-up shop in New York because we’re launching some merchandise to further my brand a little bit. So at the end of the year, I’ll have my own pop-up shop in Harlem. We’ll launch the merchandise and I’ll do some performances. I just want to expand the brand a lot more and promote a lot of this music, and give people a different angle of viewing it as well.
U.G. Digital Mag: So for the pop-up shop, what’s your big picture? I’ll precursor that by saying that there could be a lot I just don’t understand in it all. Do you see a profit from that, or do you expect to see a profit at all?
Penny Shaw: I guess it depends on where your shop is, what you’re selling, and your venue. I’ve seen cases where it costs tens of thousands to get it. I do a lot of other people’s events, and go to different cities, so once a year, I throw my own event and push our own brand the way we want to. For this, it’ll be a real intimate performance. For anyone who has come to my shows, I don’t just get up and do things the way you hear it on the CD. I switch it up. We’re doing it at art galleries. Some of the painters I’ve connected with, we’re putting their work up on the walls. Everyone I’ve had relationships with, and really it’s for the brand. I want to connect with people. Of course, you want to be profitable at the end of the day, but its one thing to be profitable for the moment, and another thing to think long-term.
U.G. Digital Mag: I would imagine this will affect things long-term.
Penny Shaw: Exactly. You may take a hit in the short-term, but you come out better in the long run. It’s about how you look at it and what you want.
U.G. Digital Mag: Again, I look at the love and respect you get. What’s next for the project?
Penny Shaw: We just dropped Questions. We’ll probably go into four more videos. We’re heavy into the visuals, and we’re really creative. Around the spring time, I want to do another batch of shows around the east coast, but perform the project in full for cities where I have a big supporting fan base.
U.G. Digital Mag: That’s like the dopest thing when an artist can come and perform every song from a project, especially when one song plays off the other and it’s like a story. Lately I’ve seen a lot of artists doing that. Notably, being based in Cleveland, Bone Thugs is from here, and lately they’ve been in that mode of basing their concerts off one entire album and performing each song from that project.
Penny Shaw: Definitely. I always tell people, everyone is different. I try to create moments. For the pop-up shop, I’ll do a special performance for that. I don’t want to do the same shows for people, so when I come back in the spring, it’ll be a different look. I just want people to come out and get their money’s worth, and get something different each time, and not expect the same thing.
U.G. Digital Mag: You sound like someone who enjoys crowd interaction and participation. Are you partial to smaller, more intimate sets like The House of Blues, or do you prefer the larger scale arenas?
Penny Shaw: I’ll be honest with you, it really doesn’t matter. I just realize performing is one of the best ways for me to connect with people. My visuals have been one of my strongest assets. I like to get out there and talk to people, take pictures, and have these memories.
U.G. Digital Mag: As far as touring, what type of line-up is set so far?
Penny Shaw: Right now, I’m focused on the Northeast. January 6 I’ll be in D.C., and as far as doing the project in full, I’ll start in New York, then New Jersey, and that whole Tri-State area.
U.G. Digital Mag: That’s cool knowing where your best places are to perform, but obviously, you’ll know that as an independent.
Penny Shaw: Definitely.
U.G. Digital Mag: In terms of final comments, you have a lot of people who read these because, they too, are artistic and want to do this for a living. What type of final comments do you have for them?
Penny Shaw: To anyone out there pursuing music, or anything, you have to keep going. There will be ups and downs. The frustrating moments are what take you to the next level. Push through it when it’s something you want to do. When I get frustrated, I know it’s just GOD testing me and preparing me. I’m not too much of a religious dude (I know I just sounded like it… laughing), but that’s really just how I think. As far as the project, I just want everyone to listen to it, and know that this is a project you can go back and listen to and pick up something new each time. It’s intricate and we put a lot of thought into it. If you don’t get it by listening, the visuals will help you. We just want to paint a full picture and give a full 360 video for us to connect.
We recently had the opportunity to catch up with Independent Soul Artist Noel Gourdin, and what a great conversation we had. As an avid music follower, I’ve paid attention to a lot, not just with Noel, but music and artists in general. He’s released arguably some of the best albums music has seen in years, yet, we don’t necessarily hear very much about that. In my mind, that puts him in a very “elite” class with a list of other artists, and we talk a little about that. He’s done some powerful things in music with his releases, and this interview gives us the opportunity to spotlight that like never before.
He has a great story in the fact that his road has been bumpy along the way, but he has managed to see his way through it while doing something that he absolutely loves. We talk a lot about following your passions, and in talking to Gourdin, it’s clear that he’s indeed following his passion. He’s living proof that you can follow your dreams and come out on top just by believing in yourself. Gourdin talks to us about everything from his start in music nearly 15 years ago, to the things he currently has going on, including his latest release “City Heart, Southern Soul”, touring, the new project he has in the works, and his new radio show.
Check out his story HERE!
Meet Johari Noelle! This beautiful, amazingly talented young lady has been part of the focus of Kelly Rowland's new docuseries, Chasing Destiny. Faced with the idea of putting together a girl group, or better yet, a supergroup, who would would not only duplicate the success of Destiny's Child, but take music to the next level. Johari was one of many young ladies who went after the opportunity, and ultimately one of close to 20 girls who were selected to compete at being selected to be a part of Rowland's new group. Unquestionably, Johari brought her A-game on this series, aiming to solidify her spot in what's geared to be one of music's biggest groups yet. Four episodes in, much to everyone's surprise, Johari was eliminated. The thing here, though, is it had nothing to do with talent, nor a lack thereof. Truth is, her talent is endless, much like everyone else who was vying for a role in Rowland's supergroup. Her star has definitely been bright throughout her time there, and the fact that she made it to that point was solid proof.
Now, with that experience being behind her, Johari has a lot planned and in the works with her career. We had an opportunity to talk about her experience on the show and the projects she has coming up soon. For her, the chase continues.
Check out her story HERE!
As a music lover, there’s no way you don’t know the name Angie Stone. Spending much of her life entertaining you and I with her soulful catalog, Starting first in 1979 with The Sequence, Angie (then known as Angie B.); along with group members Cheryl Cook & Gwendolyn Chisolm, release the hit single “Funk You Up”, which today, we’ve heard in hit singles from Dr. Dre (Keep Their Heads Ringing) and Erykah Badu (Love of My Life - Worldwide Remix). She also spent time working with Mantronix, and as a member of Vertical Hold (they had the hit single “Seems You’re Much Too Busy”), before ultimately setting out on her own. Stone has led an unparalleled solo career that any growing artist would long for. In a flash, that was almost taken away as a result of drama, and what Angie herself chalks up to pure “foolishness”.
In this exclusive, Angie shows us just how some of her most documented struggles nearly ended her career, which has span for more than three decades. She also stands firmly as a living witness that through God, all things are possible, and through prayers, and a few encouraging words, things can definitely turn around in a positive way.
Finally, we take a look at her new album, “Dream”, which is due in stores November 6 through a newly sealed deal between Shanachie, Conjunction Entertainment, and TopNotch Music. This deal has caused a rebirth in Angie that fans will most definitely recognize and love.
Urban Grandstand Digital: I am beyond grateful to have this opportunity in speaking with you today. I spoke to you about 8 years ago for the release of The Art of Love and War, so it gives me joy to catch you once again got your new album. Thank you so much for today.
Angie stone: Thank you so much for having the patience to be with me.
Urban Grandstand Digital: Patience is an important virtue. So many people love what you do, including me, and I’ve followed you for so long. Music has been instilled in me my entire life, so knowing your music as a child, seeing your debut in 1999, and all that was to follow, I’m immensely grateful for your teachings. When we saw you on reality television, it was evident that your knowledge spans wide.
Angie Stone: Thank you, and I appreciate that because it’s been a long time.
Urban Grandstand Digital: But there’s something to be said in the fact that you’re still here, and people still are running to see you and get your music. It’s divine, and meant to be.
Angie Stone: Absolutely. It’s been a long time since I put out the kind of music I’m completely happy with. But it’s been a long time since people have been aware, like this, that I have new music coming.
Urban Grandstand Digital: They know now though. Your single is booming, and it’s a testament to your strength.
Angie Stone: That’s good to know. I’m glad we’re making a dent in things these days.
Urban Grandstand Digital: You’re doing more that that, and you have come so far in your career. You've done some amazing things in music and so many people, including artists, look up to you in unimaginable ways. I look at some of there quotes out there from powerful people, like Faith Evans, Al Green, Ledisi, and so on. Many are legends themselves, and others continue to strive just like you. How does that make you feel, considering the work you've put in for well over 30 years?
Angie Stone: I feel good and grateful that my peers, even when it doesn't seem I get he recognition I deserve, it’s those people who step up to the plate and hit the ball to make it so worth it. That respect the caliber of work that I do.
Urban Grandstand Digital: I know our time is short, and I definitely want the rundown of your new album, which I've heard and absolutely love all the way through. But I first want to talk briefly about your tour. You were here in Cleveland this past Friday. How did you enjoy your show?
Angie Stone: That was really great. Mitchell’s is a very nice spot that I would recommend to anyone that’s grown and sexy. I think they have what it takes to be that hot spot. They were wanting me because I hadn’t been to Cleveland in years. To play with a band as good as they were was amazing. Not knowing how they would accept the new music was scary, but I pulled it off.
Urban Grandstand Digital: There were so many people I spoke to beforehand who were really anticipating you being here. You definitely have that effect on music lovers, and I think that in addition to the obvious, which is the quality, passion, and substance of your music, you have a personality that will win anybody over. What's the one thing that stood out the most about Mitchell's and the show?
Angie Stone: I think people realized I was reachable. I think they enjoyed that.
Urban Grandstand Digital: That speaks to my next statement. Obviously, Mitchell's is more of an intimate setting where you're up close and personal with your audience. Do you enjoy that more than say...performing in a large arena or venue?
Angie Stone: Yes, I love being up close and personal.
Urban Grandstand Digital: I think that’s what people loved about you being there.
Angie Stone: Right. That’s what I love doing.
Urban Grandstand Digital: I know you're now with Shanachie, which I think is perfect. Looking at their artists, they really get it more than the average recording label. It’s the perfect vibe. Working with Walter Millsap of Conjunction Entertainment is amazing as well. What prompted the change?
Angie Stone: What prompted the change was I had given up. I was done and through. I was tired, and Walter Millsap had a dream. He said God had given him this dream. He called and basically said he had to do this project for me.
Urban Grandstand Digital: I think it’s great, but why were you don? even the love people have for you, what took you to that point?
Angie Stone: I didn’t have a deal. I had been out of the loop for about 2 years, and the last two records I did, nobody knew they were out. They were good albums, and the negative energy from the press based on the incident with my daughter, it was one of those things where they only had half of the story. They didn’t care, and I thought they were trying to beat me down. At that point, I said I wasn’t going to worry about it. I had several shows scheduled to play, and they all cancelled because of the incident. I was tired. I was done. I worked hard all my life, and at this point in my life to take care of my family. I have sunk every dime of my money into my family and here I was, unable to get a job because of some foolishness. I felt thrown away. I had given up and felt tired. That was when Walter stepped in. People ask me how I came up with the name Dream, it came from the dream he had. The second thing I learned was it wasn’t me. It was God all along, because I stopped fighting and trying. i didn’t care, and when I did that, God took over. Now I know the true meaning of the open Footprints.
Urban Grandstand Digital: I’m so glad you’re here, and I know others are too. I understand where you come from, and that feeling of “what’s the point”. The negativity can push anyone to that level, but there’s so many people who are grateful for your presence.
Angie Stone: Oh yes, because based on what happened with my daughter and I, which was completely a lie, people don’t want to know the truth. They would rather have a ratchet, dirty lie. As a result, they’ve developed a show, not about my daughter and I, but a show on Oxygen called ‘Stop Giving Your Mama Drama”. It’s all about young women who disrespect and fight their mothers. If you see it, you would just be embarrassed.
Urban grandstand Digital: There’s a lot of television that makes you feel that way though. It’s not even just that idea, but even looking at R&B Divas. So much negativity came from the show, and the things we saw were crazy. I remember being glad that you left.
Angie Stone: I left because they were trying to discredit us as black women, make us fight with each other, and they were depositing mess. Even with the lights and cameras weren’t rolling, I was making these girls aware of what they were doing. My kind of honesty was what they didn’t want, so what they did was try and assassinate my character at that point and get me off the show. We have to be responsible and accountable for the signals we put out there and the lives that we’re responsible for are the young women who look up to us. So I said OK, I quit. I could not go another season and allow them to tear down my character. They asked me to come on because they wanted me to mentor the girls, but as you can see they were being disrespectful to me. The very first day I was on there, Keke got smart with me and called me out my name. I said oh no. She ended up walking out with me, believe it or not.
Urban Grandstand Digital: I’m happy that you left. We do a lot of things in the name of reality Tv for the sake of building ourselves, but we end up tearing ourselves and each other down. There’s so much negativity that comes from it when everyone should be able to capitalize from it, in my mind, and a lot of it seemed shady. A lot of people are glad you walked way because it damages the legacy you built.
Angie Stone: Thank you so much, I appreciate that.
Urban Grandstand Digital: In regards to your new deal, I have to ask this because to me, you're a vet in this business. You are at a level and caliber that at the drop of a dime, you can run this all with the knowledge you have. What do you look for in a label at this stage of your career? Can a typical label do more for Angie Stone that was she could do alone?
Angie Stone: Right now, I’m starting my own label. When you start your label, it takes capital. One of the things I managed to do very weak is spend my money because I take care of 6 people: my mom, my two children, my two grandchildren, and I buried my father, so 5 now. Things have spiraled up and down. You can imagine putting two kids through college, having one in grammar school, and just the finances of all these people. like Fantasia and a lot of the rest, taking care of family is a lot. I have one act that I managed and represent, and I have to pay for their everything right now. So when you talk about what a label can do for me, it’s about capital. What I can do for myself now, they better watch out.
Urban Grandstand Digital: I think you make perfect sense. You need that capital.
Angie Stone: That’s it.
Urban Grandstand Digital: I’m eager for the album to drop. I think it’s so good. Was there any pressure in your process?
Angie Stone: I cut two songs a night (laughing). It made my head spin.
Urban Grandstand Digital: That speaks to your talent and skills, and the things you can do. It’s great because people now get to hear the music. We’ve run 2 Bad Habits on the site for just over a week, and the response is great. The album will do very well. People will surely know about this release.
Angie Stone: Like I said, I thank you all. You know I’m here. I love your spirit and you keep it one hundred.
Urban Grandstand Digital: I appreciate that. You do too though. When we last spoke, we talked about health, and at the time you had recently been diagnosed with diabetes prompting some changes, and I too had recently lost over a hundred pounds. You said some things to me that were so encouraging, and I always remember that. You’re spirit is great too. I appreciate everything. Now in addition to your tour, what else are you doing promotionally?
Angie Stone: I’m doing a play in Columbus, GA with my son and daughter. It’s called spare the rod for a child. We’re getting ready to start working on that. There’s also a lot of possibilities in television.
Urban Grandstand Digital: What's the one thing you want people to get from this album? What should they walk away thinking or feeling?
Angie Stone: That I still got it. I want them to know you can do anything you want when you put your mind to it. nothing can stop you. Age ain’t nothing but a number.
Urban Grandstand Digital: Finally can you plug your website and social Media accounts? It looked like there were multiple accounts floating around.
Angie Stone: Right. What happened was with a new label, they start their own websites and accounts. The old labels don’t want to give up the codes when you leave them. I’ve been exposed to many of those, so we had to start new accounts. So they are all “TheAngieStone” on Facebook, Twitter, and Instagram.
Urban Grandstand Digital: Thank you so much. The album, as I said is great, and I’m so grateful to you.
Angie Stone: Thank you. Take Care!
Editor's Note: Be sure to check out the video above for 2 Bad Habits. Then take a look at the *Behind The Scenes* view of the video below!
We had the amazing opportunity of catching up with Patrice Curry, who we've ll come to know from the recently-wrapped 4th season of Basketball Wives LA. Curry takes us on a journey through her reality, The New Reality, and she gives us the run down on the season and her willingness to share her marital troubles with the world, and how they have been able to rebuild as a unit. She also openly discusses the many things going on in the careers of she and her husband, Eddie Curry.
Click HERE to access the UGD Exclusive with Patrice Curry!