NEW YORK (Billboard) – Detroit rapper Hayes takes inspiration for his mixtapes from -- of all things -- magazines.
"I want to give people a little taste of what a Hayes album would be like," he says. "It's like getting a trial subscription to your favorite magazine -- you get my music for free, you get to know me, and then hopefully you'll appreciate me enough to come back and support me." Tellingly, neither of Hayes' two mixtapes -- 2006's "24 Songs of Power" and 2010's "The First 48" -- traffic in two staples of the form: beats lifted from other official songs ("jacked beats," in mixtape parlance) and DJ scratches.
"I have my own format," Hayes says. "I like to use original beats. I call my mixtapes 'street albums' -- I don't like to rap over other people's beats."
Hayes' self-reliance is about to pay dividends: Two months ago he signed to Interscope through a joint deal with producers Timbaland's Mosley Music Group and Dr. Dre's Aftermath Records.
"For Tim, it wasn't just Hayes' lyrical prowess but his craftsmanship that really caught his ear," says Rick Frazier,
Hayes' manager and vice president of Mosley Music Group. It was the entire package, Frazier says -- from lyrics to the original production by his in-house team, the Breakfast Club -- that got Hayes noticed.
Following the mixtape-to-major-label success in 2009 of Toronto rookie Drake and Atlanta's Gucci Mane, labels are taking a new look at artists who make professional-caliber mixtapes -- a highly personalized form of unauthorized music compilation -- their calling card. In addition to Hayes -- who's touring with Timbaland and has started recording his debut album -- up-and-coming Houston rapper Chalie Boy and Atlanta-born Pill recently signed to labels on the strength of their mixtapes.
GETTING NOTICEDNicole George, vice president of the rhythm and soul membership department at performance rights organization ASCAP (American Society of Composers, Authors and Publishers), says that her team listens to mixtapes and follows the industry talk, which leads them to artists and writers whom ASCAP could sign.
Chalie Boy put out mixtapes for a decade before recently signing to Dirty3rd/Jive/Battery Records. "As I was shopping around for deals, mixtapes kept my name afloat in the music industry," he says. "Eventually, the buzz off my mixtapes not only got me signed, but it got me paid work through features on others' albums and mixtapes as well as show performances."
Now, Chalie Boy is prepping the release of his major-label self-titled debut album; the lead single, "I Look Good," peaked at No. 20 on Billboard's Hot R&B/Hip-Hop Songs chart in December.
Chalie Boy
Another rapper, Pill, had the Internet buzzing the last few months with his own "4075: The Refill" -- hosted by DJ Skee and Empire and released in November -- as well as his February 2009 mixtape, "The Prescription." Both releases largely featured original production.
"Anyone can jack a beat, put hot metaphors together and sound convincing," Pill says of his decision to use new beats from the likes of Illfonics and Drum Majors. "I wanted people to hear me over original tracks. You can tell the difference between a mixtape artist and an actual artist who can make a real track."
Eskay, founder/owner of Nahright.com, a Web site focused on posting music by new hip-hop artists, notes that after Curtis "50 Cent" Jackson's underground tapes triggered a massive bidding war in 2002, "everyone jumped on the bandwagon and tried to release mixtapes at a rapid pace."
But quickness can be the death of quality -- and the industry is looking for polish, not just potential. Pill signed to Asylum at the end of last year following his own bidding war. "If you're putting out a mixtape that is on a level of most other artists' studio albums, then people will support your music," says Hof, of New Music Cartel's mixtape specialist OnSmash.com.
ROUTE TO THE CHARTSAubrey "Drake" Graham, a graduate of TV's "Degrassi High," stunned the hip-hop world in 2009. In February, he released "So Far Gone" for free on his own blog. In May, the song "Best I Ever Had" entered Hot R&B/Hip-Hop Songs at No. 78; by the end of June it topped the chart. Soon, the majors came in hot pursuit, and in midsummer Drake signed to Universal Motown. He has since collaborated with hip-hop's elite, including Jay-Z, Kanye West, Eminem and mentor Lil Wayne. Drake's early mixtape songs were released on an official EP, "So Far Gone," which has sold 344,000 copies in the United States, according to Nielsen SoundScan.
Gucci Mane's route to hip-hop stardom was far less direct. After leaving prison in March 2009 (on charges stemming from a 2005 conviction for aggravated assault), the prolific Atlanta rapper released a torrent of mixtapes -- "Writing on the Wall," "The Movie 3-D: The Burrprint!" and the three-part Cold War series ("Guccimerica," "Brrrussia" and "Great Brrritain"), among others -- all filled with original material.
During the summer he signed to Asylum, which released his second official studio album, "The State Vs. Radric Davis"; by then he'd already been featured on 12 charting songs, and his mixtape profile brought a string of klieg-light guest appearances, including spots on the remix of the Black Eyed Peas' "Boom Boom Pow" and Mariah Carey's "Obsessed." "Pow" reached No. 1 on the Billboard Hot 100, while "Obsessed" peaked at No. 7. "The State Vs. Radric Davis" has sold 215,000, according to Nielsen SoundScan. (Mane is back in prison for violating probation.)
Beyond generating sales and superstar hookups, mixtapes have garnered underground radio airplay and helped to nurture relationships with fans. After 50 Cent was shot nine times in 2001, his recording contract was terminated by Columbia Records. In turn, 50 Cent started to flood the streets with mixtapes that were built to dazzle.
"He revolutionized the art of stealing songs and changing hooks and getting more airplay for his version than even the original song," says Whoo Kid, a pioneering mix master known for releasing unauthorized music from the likes of the Notorious B.I.G. and 2Pac -- as well as for being 50's official DJ.
Whoo Kid
In 2006, industry vet Lil Wayne famously reinvented his career by releasing mixtapes featuring his hallucinogenic rapping over beats from recent hits. "Dedication 2," hosted by DJ Drama, came first, trailed a year later by "Da Drought 3." Although Drama was arrested in 2007, after a police raid of his Atlanta office over alleged bootlegging, Wayne, for one, wouldn't be slowed, releasing "Dedication 3" in 2008 and "No Ceilings" in '09.
"What happened to me hit the mixtapes circuit hard," DJ Drama says. "It's still in the rebuilding process, but 2009 proved that mixtapes are just as important to hip-hop music as they ever were. They're just changing with the times, much like the record industry."
For Hayes, Chalie Boy and Pill, the make-it-sleek lessons of Drake and Gucci Mane might have led them to record deals, but it's the entrepreneurial spirit of 50 Cent and Lil Wayne that's keeping them in business.
"Mixtapes will always be a viable marketing tool to help promote artists, whether there's money involved or not," Whoo Kid says. "I don't make most of my money selling mixtapes anymore, but I constantly give away tapes for free on the Internet, and I'm booked now through 2011 for paying gigs all around the world. Without that exposure, I won't be able to connect the dots in other ways."
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Sometimes, when I see Beyonce, hear Alicia Keys, or notice some new pop-soul singer on the radio, TV or the Web, I think of Aaliyah. Today, Jan. 16, would have been her 31st birthday.
Born in Brooklyn, and raised in Detroit, Aaliyah Dana Haughton was one of the most innovative hip-hop soul singers of the last decade. She released her debut album, “Age Ain’t Nothing but a Number” (1994), at the age of 14. Her follow-ups, “One in a Million” (1996), and “Aaliyah” (2001), were both influential and best-selling, fracturing the sound of traditional R&B.
While other soul stars belted out songs and looked to raise the roof, Aaliyah stayed in the groove, working with collaborators R. Kelly, Timbaland, and Missy Elliott, to create beat-driven music with unusual but gripping rhythms, subtle vocals, and dangerously glamorous videos. She cut a mysterious figure in an overexposed field, keeping her private life private, and sweeping her dark hair over one eye like Veronica Lake.
Soon after the release of her third, self-titled album, however, and just as she was securing a side career as a movie actress, Aaliyah’s career was cut short in a plane crash in 2001. She was 22 years old.
Please leave your thoughts about Aaliyah in the comments section.
Below, a few of Aaliyah’s music videos.
Here’s the video for “Are You That Somebody?”
Aaliyah "Are You That Somebody"
Aaliyah "More Than A Woman"Aaliyah "One In A Million"Aaliyah Rare Interview
For those who have an intravenous Internet hookup, Jay-Z's long-delayed, much-anticipated "Blueprint 3" leaked sometime in the wee hours Monday morning and made it's debut Tuesday on Rhapsody's and MTV's websites. We listened to the entirety of Sean Carter's 11th album in one fell swoop -- not even taking a break to sip overpriced Champagne, smoke overpriced cigars or take our Maybach out for a leisurely spin. That's either dedication or... a paying assignment from our editor.
"What We Talkin' About" (ft. Luke Steele of Empire of the Sun)
Jay-Z has enlisted Luke Steele of Australian hairspray techno auteurs Empire of the Sun to sing the hook. For those doing the math at home, that means that the man behind this album has more face-time on a Jay-Z album than longtime collaborators DJ Premier and State Property.
In the course of the cut, Jay-Z claims, "I'm not talking about profit; I'm talking about pain." Within 30 seconds, he's bragging about being bff's with Barack Obama. Apparently, Jay-Z feels the pain of the potential loss of the public option more than we will ever know. Hova also declares "I'm not talking about [rivals] Jimmy [Jones], Game or Dame [Dash]," thus robbing him of any semblance of conflict that might make his music that much more interesting.
"Thank You"
Rather than use the liner notes, Jay-Z decides to write a song thanking the fans for supporting him. He mentions that he has 10 No. 1 albums -- a factual inaccuracy. He has 10 official solo albums released prior to this one, and not all reached No. 1. You'd think that with all of his money, he could at least pay sidekick Memphis Bleek to fact-check for him. He also mentions his predilection for wearing really nice suits and going to the opera.
"D.O.A."
The long-ago leaked first single proves that no matter how cranky and cantankerous Jay-Z sounds, a Janko Nilovic sample can salve all wounds. Moreover, whether you agree or not with his traditionalist stance, Jay at least has a coherent point here.
"Run this Town" (ft. Rihanna & Kanye West)
The second single currently earning heavy urban radio play. You've probably heard it. If not, let me give you a hint about who runs this town -- it rhymes with May-B.
"Empire State of Mind" (ft. Alicia Keys)
Essentially, a list of New York City streets with the titular inspiration seemingly swiped from Nas' "New York State of Mind." For the 723rd time, Jay-Z compares himself to Frank Sinatra, an analogue that's becoming ill-fitting. There's something timeless about Sinatra's catalog and his choice of collaborators. Something tells me that Mr. Hudson, featured on the last track of "Blueprint 3," is no Antonio Carlos Jobim. Even Alicia Keys can't save this track from foundering.
"Real as it Gets" (ft. Young Jeezy)
This feels like a shameless shill to get Southern rap fans to buy the album, lured by the promise of a Young Jeezy cameo. When used properly, Jeezy's gravelly timbre can produce earthshaking force; but on "Real," the result is both rappers abandoning their gritty street raps for self-worshiping ennui. It's hard to blame them; it's tough to stay hungry when you have a personal chef.
"On to the Next One" (ft. Swizz Beatz)
The first track yet that doesn't make me want to skip onto the next one. Swizz Beatz is clearly channeling "A Milli," and while he doesn't get the exact same results, he clearly creates one of the album's standout tracks, sounding simultaneously au courant and catchy. Jay-Z continues his recurring obsession with being artistically progressive and moving forward.
"Off That" (ft. Drake)
Timbaland's beat sounds like one of the better castoffs from the last Justin Timberlake album, and Drake's hook is cool and self-assured. But there's something here that reads as stasis: Timbaland continues to envision the future as silver suits and astronaut ice cream, while Jay sounds like he would probably try to lecture the “Say Hey” kid for wearing tight pants.
"A Star is Born" (ft. J. Cole)
Featuring a guest appearance from J. Cole, the fledgling artist whom Jay-Z has signed to Roc Nation. Cole acquits himself fine with a nimble resonant verse about coming from poverty, though his performance lacks the appeal of past Jay proteges Beanie Sigel, Kanye West or Memphis Bleek.
"Venus vs. Mars"
A naked play to entice female listeners, with Timbaland delivering a monstrous beat. Unfortunately, Jay utilizes the lurid leering tone of the rich guy at the bar promising helicopter rides to any nubile female who will look in his direction. In 10 years, "Venus vs. Mars," will go down in history as the first rap song ever inspired by a self-help romance guide intended to illuminate gender differences. I can't wait until Drake releases his prog-rap opus, "He's Just Not That Into You."
"Already Home" (ft. Kid Cudi)
The most organic and hence best song on the album. Kanye fulfills his symphonic "Late Registration"-era aspirations and Jay fills it with regnant "Blueprint" majesty. The decision to pair up with Kid Cudi and Kanye West finally yields some dividends for Jay's experimentation. Granted, it's not exactly the London Muddy Waters Sessions, but it works. Kid Cudi's stoned insularity proves a nice foil to Jay's swagger and the song sounds fun and spontaneous.
"Hate" (ft. Kanye West)
The logical continuation of the "Graduation" dud "Drunk and Hot Girls," "Hate" sounds like the result of staying up all night in the studio mixing various liquors and then letting the tape recorder roll. You're in that deluded state where you think that everything you record is genius and filled with revelations. Then you wake up the next morning to realize that except for three seconds, everything you made was garbage. Except that never happened, and Jay and Kanye decided to put it on the album.
"Reminder"
Where Jay-Z reminds us that he's better than you and me. Presumably, this is supposed to even out the hospitality of "Thank You."
"So Ambitious" (ft. Pharrell)
Apparently, all ambition means these days is making songs that both Pharrell and Jay would've scoffed at during their "Roc La Familia"-era salad days.
"Young Forever" (ft. Mr. Hudson)
Sampling "Forever Young" on the the final track is one of the worst decisions of Jay-Z's legendary career and confirms everyone's deepest fears about the album: that it's a Hail Mary attempt by a veteran artist to stay relevant. There's maturing gracefully and then there's this -- a maudlin cut that sounds like bar mitzvah montage rap. After hearing this, cleanse with "Brooklyn's Finest" on repeat.
Verdict:
Regardless of this lackluster effort, nothing can alter Jay-Z's place as one of the greatest rappers of all time. That said, despite several strong moments, "Blueprint 3" documents an artist who refuses to wallow in the past, but lacks a (ahem) blueprint for the future. As with all Jay-Z albums, it tries to be all things to all people, and occasionally succeeds, but more often than not, it offers a tepid futurism. If Jay-Z is rap's Rolling Stones, this is his "Dirty Work," even if he maintains that he doesn't like his colors too bright.
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HipHopWired Reports
Rockstar Games has partnered with producer Timbaland to release the video game “Beaterator” on September 29th and October 2nd respectively in North America and Europe. Available for PSP and PlayStation systems, the game will allow users to create their own beats using production from Timbaland.
Sam Houser, Founder of Rockstar Games whose franchise includes the highly successful “Grand Theft Auto” series, stated, “Beaterator is a very natural progression for us. Music is incredibly important to us here at Rockstar, and we believe that there are many people out there who share that passion and will be excited about creating music of their own.”
Initially created in 2005 as a Flash application on the Rockstar website, Beaterator quickly took on a life of its own. Featuring thousands of loops and sounds made by both Timbaland and Rockstar, Beaterator puts the power to make professional-level music at your fingertips in a format that's portable, accessible and fun as anyone can now create great-sounding music. Timbaland added, “I've worked closely with Rockstar Games to make something completely unique. Beaterator is like taking my music studio and turning it into a suite of tools anyone can use. We can't wait to hear the beats people make and share with the world.”
In related news, Timbaland's production is also slated to appear on Jay-Z's highly anticipated Blueprint III alongside the likes of No I.D. and Kanye West. The Blueprint III is scheduled to be released on September 11th.
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