Chicago rapper Lil Bibby has been gaining notoriety for his mixtape game in the Windy City. Today, Bibby goes hits a three-peat by releasing the third mixtape to his Free Crack series. For a prospective rapper out of Chi-Town, Bibby has a plethora of artists from the Drill scene to the A-Listers. "Free Crack features verses from Future, Common, G Herbo, Jeremiah, and even R. Kelly. MetroBoomin and Young Chop are also a couple of the plethora of producers behind the project as well.
(AllHipHop News) Soul singer Erykah Badu put on her Hip Hop hat by dropping the But You Cain't Use My Phone mixtape overnight. OutKast member and former Badu boyfriend Andre 3000 makes an appearance on the closing cut "Hello". Stream Erykah Badu's full BYCUMP below. The project will be available on iTunes later today.
As a prelude to his upcoming album Flockaveli 2, Waka Flocka treats his fans with 15 new tracks as they patiently wait for the upcoming album. Executive produced by 808 Mafia's Southside. Download here.
Want more than the four fight main card for Miguel Cotto-Canelo Alvarez? Well, you're in luck as ITRBoxing.com is streaming above the "dark matches" prior to the pay-per-view portion of the card. Below are the bouts that will be featured [Note: Randy Caballero came in dramatically overweight, was stripped of his IBF title and also is no longer on the undercard]
"In the midst of working on my two albums Sharp On All 4 Corners Volume 3 & 4, the good Lord tapped me on the shoulder and gave me an assignment," E-40 says in a press release. "He told me to speak to the people, to 'tell it like it is and call it how you see it. E-40 you got something to say.'"
He's one of the few rappers that can say "Biggie said I'm nice." And defnitely one of the only guys that has enough wild DMX stories to write several novels.
Here in New York, we call him Jadkiss but you can also refer to him as Top 5 Dead or Alive. On this glorious Friday (Nov 20), the L.O.X. veteran released his fourth solo studio album by the same title.
Signed to Bad Boy in the mid-90's as a founding member of The Lox, Jadakiss has seen it all. He's from the same 'hood as DMX and the streets love him. As one of the few artists today that recorded and toured with Biggie, Jada brings a unique perspective to the game that few rappers are able to elicit or duplicate.
The point: Jada has earned his stripes from the streets, to the beef, to the hits, to the legendary freestyles. But that being said - Does this project matter? Will it actually impact Jada's legacy? Are people just focused on the trap and the turn up?
All those questions make this project a must listen for Hip-Hop heads regardless of if you think project deserves a rating of 7/10, 5/10 or a 10/10. Whatever you think, this project is a must listen, because if someone like Jadakiss can't put out an album and get support, where is Hip-Hop? Remember when Jada did the Reebok commercials with Iverson?
Perhaps Jada said it best on his track "Kill" featuring Lil Wayne when he said, "As far as the rap game goes, I'm the achilles." It is true though, what would rap be without Jadakiss, his raspy voice and his signature "HeHe!!!!"
But while the game needs Jada, on this project he showed he also needs help making the hits. To that point, Jada has a ton of features on this project. While he has taken the time to reach back to work with hot younger talent for this effort, he also focused on working with artists from his generation like Swizz Beatz, Styles P, Diddy, Akon, Young Buck and Sheek Louch.
By teaming up with Future, Wiz Khalifa and Nipsey Hussle, Jadakiss is sure to garner attention from younger fans, but is this really what you want to hear from Jadakiss? No diss to Jada or anyone on the album, but do you want to hear Jadakiss or everyone else? This is what the labels and Jada believe will sell, so this is what we get.
The list of features on the project are lengthy as Diddy, Future, Akon, Swizz Beatz, Lil Wayne, Styles P, Ne-Yo, Nipsey Hussle, Wiz Khalifa, Jeezy, Young Buck, Sheek Louch, Nas and several acts signed to Jadakiss all join this album. It's a lot to get out just saying it. Unfortunately that leaves us wanting more from Jadakiss, but we understand the circumstances, and are happy he blessed us with yet ANOTHER solid effort.
Standout songs on the album include the Future track "You Can See," "Y.O. (Youth Offenders)" ft Akon and "Kill" ft Lil Wayne. They all convey that Jadakiss understands where he is at in the game. Jada even gives us a 2015 version of "Why" called "Man in the Mirror," one of the few solo songs on the 18 track effort.
The album art for this project is a sculpted bust of Jada from the shoulders up drawing from the NFL's Hall of Fame statues seen in Canton, Ohio. Jada found a way to hold up the concept on this album of Top 5 Dead or Alive, and with so many features, its amazing it still worked. One of the greatest parts about this album is that the title isn't a question, it's a statement, one that we are cool with because Jadakiss means that much to the culture.
We've been keeping up with Seattle hip-hop artist J'Von for a minute now, earlier this year he dropped "raw sheep" with producer Ackryte (via Cascade Records). While releasing various singles and collabs, he's back with "no motions" EP. A DIY project, J'Von produced the entire project, mixed and mastered and wrote all the lyrics on the project. J'Von offers the project for free and is the perfect way to enter your weekend.
Now I know this is Dead End Hip Hop and we usually feature joints that bump in the whip, however today I have Froyo Ma a producer and singer who just dropped his EP "pants". The sounds are a bit different than what you guys are used to on the site, but the sounds are so lush and wavy that you can't help but vibe to the project. Collaborating with other artists, Froyo Ma put on a nice showing containing a lot of promise on this EP. With a "name your price" tag, there's no excuse not to cop this greatness. Plus this man's artwork is top-notch. Cop it and let me know what you think in the comments below!
Seattle emcee Dex Amora has been showcasing his talent for a minute now. Along with teammate Goldenbeets on production the two have come together to release their first group project entitled "Ai Level". The two fit each other like a glove and show that the joints they put out before this EP was batting practice for the main event. Dex flows freely and effortlessly over Goldenbeets jazzy production. The EP is hosted via EveryDejaVu and if you cop it through them you'll also get a link to a beat tape that Goldenbeets put together called "Cuffing Season". You can download the EP at the link below for FREE, peep and let me know what you think in the comment section below.
Young Chop's been pretty quietly lately. Being one of the founding fathers of Drill music, the Chicago producer has enough clout to venture out and do his own thing without the help of his close colleague, Chief Keef. Recently, Chop released his album Finally Rich Too. The title seems to be a play off of Chief Keef's debut album Finally Rich. like He even made it available to stream. The new project features appearances from Vic Mensa, Lil Flash, Nino, King100James, and more.
While this came out a couple months ago JAHSHOOTA (fka Jiro) has been putting in work on the beats lately. His latest instrumental album covers a plethora of sounds and has a collab with fellow NASA8 member Tek.Lun. Peep the album, which is available with a "name your price" tag and let me know what you think in the comments section below.
MFUNDISHi dropped a tape entitled "MFUNDANCe" yesterday full of dance edits for you to go into the weekend with. If you're into the bouncy wavy type stuff this tape is for you and best of all it's name your own price. Let me know what you think in the comments below!
(AllHipHop News) New York Attorney General Eric Schneiderman has ordered fantasy sports companies FanDuel And DraftKings to cease-and-desist operations in his state. Could music streaming services Spotify and YouTube be the next corporations to face sanctions from the N.Y. A.G.?
Spotify, YouTube, and other digital streaming outlets have been heavily criticized in recent years for unfair payouts to artists, songwriters, and producers. Taylor Swift famously pulled her entire catalog from Spotify, and Aloe Blacc revealed he only made $4000 from Pandora for a song that was streamed over 168 million times.
Apple faced backlash after reports emerged the company only paid independent artists 58% of subscription revenues. The tech giant also faced antitrust violations investigations in New York and Connecticut over possibly pressuring or conspiring with music labels to stop supporting "freemium" services such as Spotify.
Re: Unclaimed Property/Unpaid Royalties at Spotify and YouTube
Dear Attorney General Schneiderman:
I wish to call your attention to reporting by the Wall Street Journal that digital music service Spotify routinely fails to pay songwriter royalties for songwriters who Spotify has failed to locate-but whose songs they use anyway. ("Songwriters Lose Out on Royalties", October 14, 2015 available at http://www.wsj.com/articles/songwriters-lose-out-on-royalties-1444864895). Precedents established by your office over 10 years ago could go a long way to solving this problem if you enforce them against "new boss" companies failing to disclose they are holding royalties.
According to the Wall Street Journal, Spotify's practice is to "escrow" royalties for songwriters whom Spotify has not located, and it is our understanding that YouTube also follows this practice, as may other services. Some estimate that the total sums being held in this manner by Spotify, YouTube and Google are in the tens of millions of dollars. I personally have estimated that Spotify is using over 150 song I wrote or co-wrote for my bands Cracker and Camper van Beethoven and am demanding an explanation from Spotify. ("Spotify Has Apparently Failed to License, Account and Pay on More than 150 Cracker and Camper Van Beethoven Songs" available athttp://thetrichordist.com/2015/10/20/spotify-has-apparently-failed-to-license-account-and-pay-on-more-than-150-cracker-and-camper-van-beethoven-songs/ )
However, because no digital service does something as simple as publishing lists of songwriters for whom it holds royalties, it not only is impossible for anyone other than the individual services to determine how much is owed, it is also impossible for the songwriters concerned to know there is money being held-ostensibly on behalf of the songwriters-by these services. If the monies are never disclosed or paid, then how are these services not unjustly enriched? This seems like a prime case for the imposition of a constructive trust-that "has been famously described as a remedy applicable to 'whatever knavery human ingenuity can invent'" (In re Alpert, 9 Misc 3d at *7 [Sur Ct, New York County 2005]
State Attorney General Spitzer today announced a deal with the nations top recording companies that returns nearly $50 million in unclaimed royalties to thousands of performers.
The agreement comes after a two-year investigation by Spitzer's office found that many artists and writers were not being paid royalties because record companies had failed to maintain contact with the performers and had stopped making required payments. This problem affected both star entertainers with numerous hit recordings and obscure musicians who may have had only one recording.
"As a result of this agreement, new procedures will be adopted to ensure that the artists and their descendants will receive the compensation to which they are entitled," Spitzer said.
Under the deal, the recording companies have agreed to do the following:
¥ List the names of artists and writers who are owed royalty payments on company websites;
¥ Post advertisements in leading music industry publications explaining procedures for unclaimed royalties;
¥ Work with music industry groups and unions to locate artists who are owed royalty payments; and
¥ Share artists contact information with other record companies.
In addition, each company has agreed to have the heads of the royalty, accounting and legal departments meet regularly to review the status of royalty accounts and take steps to improve royalty payment procedures.
The companies have also agreed to comply with New York State's Abandoned Property Law, which requires that if an artist or his or her family cannot be found, unclaimed royalties be "escheated" or turned over to the state. The state then holds these monies until a claim is made.
I see no difference between the 2004 situation regarding record companies and the 2015 situation involving digital services. I think that highly sophisticated and well-funded high-tech digital services like Spotify and Google should be held to at least the same standard as the record companies regarding unpaid royalties if not a higher standard-if licensees don't know who to pay, then why are they using the music in the first place?
If what Spotify told the Wall Street Journal is true, then Spotify knows which songs they are "escrowing" royalties for, and Google likely has the same information. They should know the song title and the name of the artist who performed the song. Even if Spotify doesn't know the name of the songwriters concerned, they could at least publish the song title and artist name so that there could be a hope of the songwriter tracking down what was owed to them. I suspect the same is true at YouTube and all the other digital services.
While the Wall Street Journal refers to the monies being held in "escrow," I don't know of any legal basis for a secret "escrow" with an unknown songwriter accrued at a royalty rate the songwriter did not agree to because they were not asked and for which there is no license.
This situation seems ideally suited to the kind of investigation that your office undertook in 2004.