Posts tagged “Glossary: Music


is pleased to announce that a glossary category will be initiated beginning today. Get It Done Blog prides itself on helping the aspiring artists by providing the necessary information and knowledge needed to become educated in their chosen craft.

Industry Tips & Advice: Just Blaze gives advice to upcoming artists

Just blaze gives advice to upcoming artists at New Music Seminar in NYC 2010.

New Music Seminar 2010 NYC Webster Hall

Article: The Top Hip Hop Models 2010

Jessica Burciaga

Laura Dore

Jaye Santi

Nyla B

Daphne Joy




Article: The Top 10 Road Rage Songs By: Brad Iger

Road rage is part of human nature. If you spend enough time every day in your car, inevitably some jackass will pull a stunt that just defies all logic and regard for the motorists around them. Once you’ve experienced this enough times, you’re bound to lose it sooner or later. So when you end up going off the deep end, you might as well have a kickass soundtrack to compliment the fury.

10. Metallica “Battery”

The slow and somber acoustic guitar strumming that opens Master of Puppets serves as the perfect red herring for what’s to come. Suddenly the ethereal melodies turn into roaring thunder, and from then on there’s no turning back, dishing out pure, aggressive thrash till the last note of the song. This actually mimics the road rage phenomenon quite well – one minute you’re calmly going about your business, the next minute it’s vehicular mayhem. With the constant, propulsive force of this song, you’ll have an apt refrain to flip out to.

9. N.W.A. “Straight Outta Compton”
If this track doesn’t make you want to take down stupid pricks on the freeway, check your pulse because you’re probably already dead. Right out of the gate you get this constant click track and James Brown guitar riff that matches the pace of the road perfectly. Then suddenly Ice Cube is right in your face telling you to crush every sucka who gets in the way. Word to the mothef**ker.

8. Rage Against the Machine “Bulls on Parade”

If nothing else, the name of this band should tip you off to the intentions of their music. True to form, “Bulls on Parade” immediately grabs you with the kind of vitriol you get when some jerkoff cuts you off and then slams on the brakes just to shave a couple seconds off their otherwise pointless commute. The sinister, lumbering bass line that follows works as a backdrop to the frustration of watching your existence grow ever shorter as you battle just to get back to the package of stale Top Ramen and well-worn Victoria’s Secret catalog that you call home.

7. Pantera “F**kin’ Hostile”
Well, the title is kind of a give away, isn’t it? No high-falutin’ concepts here, just distorted vocals conjured up from hell and down-tuned guitars chugging furiously against your eardrums. For some reason, thrash metal seems to have both the ideal pacing for driving fast and the teeth-grinding anger that effectively gets people pissed off.

6. The Bronx “Heart Attack American”

One of the few punk bands left who seem to be making music as a source of catharsis instead of profit, and the opening track of The Bronx explodes out of the speakers with absolute ferocity. The track is a no-frills anthemic battlecry with a simple message: F**k everything. It truly makes you want to lash out against all the oppressive elements of the world around that keep you complacent and passive. If that happens to be another motorist, well, sooner or later someone’s gotta teach them a lesson.

5. Nine Inch Nails “March of the Pigs”

Is there a way to make a drum kit sound pissed off? Well, Trent found a way. This fine example of industrial rock destruction has this sort of surging effect to it, much like what you might experience when repeatedly smashing into the back end of someone’s car after you’ve finally hit your patience quota for stolen parking spots. And just when you think everything’s cool, it hits you in the face again with even more force than the first time. Vindictive.

4. Iggy and the Stooges “Search and Destroy”
While this track starts out in a relatively tame fashion (for this list anyway), it’s like a locomotive that just keeps gaining momentum. Or, in this case: chaos and fury. Released in 1973, this song became one of the prime templates for what would later be termed “punk rock.”

By end of the song, it’s total mayhem and dissonance as Iggy’s screaming about being “the forgotten boy, the one who’s searching to destroy.” In this case, you’ll be destroying the soul of the guy who pulled into the fast lane going 30 miles an hour. And it all dissolves into distorted cries of anger (or joyous wrath?) as massively overdriven guitars shriek and wail just before it all grinds itself to a halt.

3. Slayer “Angel of Death”
This truly is the soundtrack to hell. I mean, if hell is as awesome I hope it is. This song is relentlessly evil in every respect, be it lyrics about sadist human experiments or the enormity of the malevolent rock being delivered to your ears.

Drummer Dave Lombardo has this style that just makes everything systematically brutal that, even when things go completely apeshit at about the 3:35 mark after the solo kicks in, it’s totally insane and yet completely together simultaneously. Which is much like the mentality of a seasoned road rager: beyond logic yet somehow still functional.

2. Misfits “Bullet”
Unashamedly offensive, pissed off, anthemic, and without an ounce of filler – “Bullet” may be the perfect punk song. The track is an ode to the assassination of President Kennedy and young Danzig’s… uhh… “attraction” to the first lady.

It is the celebration of violence and death. It spews pure hatred in all the right ways, and at just the right tempo. Putting this track on makes your middle finger stronger. It was tough not to make this one #1, because it is an ideal song for road rage as it sets a brilliant tone and speed for vehicular psychosis.

1. Motorhead “Ace of Spades”
Motorhead and automotive mayhem go together like coke and cheap strippers. Could there ever be a better track to accompany Mad Max? The answer is NO. When someone asks you what “Driving Rock” is, you do not respond “Radar Love.” Not unless you want a bitch slap. Instead, you put this track on.

When this song kicks in, it grabs you by your face and screams, “Bury the goddamn throttle and drive like a maniac!” And of course, you do, because Lemmy demands it.



Industry Tips & Advice: Self Promote Your Music by Heather McDonald

Unless you have major label money behind you, the ability to self promote your music is one of the most important skills you can have. When you don’t have money to hire PR people to run media campaigns for you, it is up to you to make sure people know about the music you are making. Getting started can be a little overwhelming, however. These steps will help you start out on the right foot, to make sure all of the right people are standing up and taking notice of you.

Time Required: Ongoing
Here’s How:

1.Identify Your Goals – When you set out to promote your music, don’t try to cover too much ground at once. Look at the way larger artists are promoted – they have specific campaigns that promote specific things, like a new album or a tour. Choose one thing to promote, like:

•A single
•A show
•A website

Once you know what to promote, you will be able to make clear goals for yourself, i.e. if you want to promote your website, then your goal is to bring traffic to the site. With these goals in mind, you’ll find it easier to come up with promotion ideas, and you’ll be better able to judge the success of your promotions.

2.Target the Right Audience – With your promotional goal in mind, figure out who the right audience for your campaign is. If you have a gig coming up, then the right audience for your promotion are the local print publications and radio stations in the town in which your show is happening. If you have a limited edition single coming out, your primary audience is your band mailing list, plus the media. Going for the right audience is especially important if you’re on a budget. Don’t waste time and money letting town X knowing about an upcoming show in town Y or a folk magazine about your new hip hop album.

3.Have a Promo Package – Just like when you send a demo to a label , to self promote your music, you need a good promo package. Your package should have:

•A press release detailing your news
•A short (one page) band bio
•A CD (a demo recording is ok, or an advance copy of an upcoming release)
•A package of any press coverage you have had so far – press coverage begets press coverage
•Your contact information (make sure to include an email address – people may hesitate to call you)
•A color photo, or a link to a site where a photo can be downloaded. The press is more likely to run a photo if they don’t have to chase it.

4.Find Your Niche – The sad truth is, every writer, radio station, website, or fan for that matter, you are trying to reach is likely being bombarded with info from other music hopefuls. You a reason to stand out. Try to find something that will make people more curious about you – give them a reason to want to know more. Being elusive worked wonders for Belle & Sebastian at the start of their career and people write about Marilyn Manson for being, well, Marilyn Manson. You don’t have to devise a huge, calculated persona, but giving people a reason to check out your show or your CD before the others can only help.

5.Bribe ‘Em – Another way to stand out from the crowd is plain old free stuff. Even press people and label bosses love getting something for nothing, and you’ll whip your fans into a frenzy (and get new fans) by giving stuff away. Some ideas:

•Put some money behind the bar at a show and give free drink passes to all the industry people who come to check you out.
•Give people on your mailing list an exclusive download once a month (be it a new song or an alternate version of a song)
•At gigs, raffle (for free) mix CDs made by the band – everyone who signs up to your mailing list at the show gets entered in the drawing.

6.Branding – Get your name out there. Make up some stickers, badges, posters, lighters or anything else you can think of that include your band’s name. Then, leave the stuff anywhere you can. Pass them out at your favorite clubs, leave them on the record shop counter, poster the light posts – go for it. Soon, your name will be familiar to people even if they don’t know why, and when they see your name in the paper advertising an upcoming show, they’ll think “hey…I know that name, I wonder what that’s all about..”

7.Keep Track of Your Contacts – As you go through all of these steps, chances are that you are going to pick up a lot of new contacts along the way. Some of these contacts will be industry people and some will be fans. Never lose track of a contact. Keep a database on your computer for the industry people you have met and another database of fan contacts. These databases should be your first port of call for your next promotional campaign – and these databases should always be growing. Don’t write anyone off, even if you don’t get much feedback from them. You never know who is going to give you the break you need.

1.Know When to Act Small – This step ties in with targeting the right audience and identifying your goals – you can save a lot of time spinning your wheels by keeping the small stuff small. While it’s always useful to keep other people up to date with what’s happening in your career, that guy from Rolling Stone doesn’t really need to know every time your band is playing a half hour set at the local club, especially if the local press really hasn’t given you much coverage yet. When you’re getting started, the easiest place to start a buzz is your local area. Build up the small stuff to get to the bigger stuff.

2.But Know When to Act Large – Sometimes, a larger campaign really is in order. Go full speed ahead when you have something big brewing, like:

•A new album
•A tour
•An important piece of news, like an award or a new record deal
This kind of news warrants contacting both the media and people you want to work with, like labels, agents, managers and so on.

3.Find the RIGHT Niche – As mentioned, finding your niche is helpful in getting noticed. There is one caveat however – make sure you get noticed for the right reasons. You certainly will get some attention for bad, unprofessional behavior, but the problem is that your music won’t be what everyone is talking about – and isn’t that what you really want to be recognized for? Don’t do yourself the disservice of self promoting a bad rep for yourself. Make sure you get noticed for your talent instead.

Also, don’t be fake. If you’re not sure what your niche is yet, don’t push it. Stay true to yourself and your music.

4.Grow your Database – In addition to keeping tracks of the contacts you have, don’t be afraid to help your database grow by adding some “dream” contacts to your list. Is there an agent you want to take notice of you? Then include them on your press release mailing list or promo mailing list when you have big news to share. Let them know you’re still working and still building your career – pretty soon, they may be knocking on your door.

5.Take a Deep Breath – For many people, the idea of self promoting their music to their fans is easy, but the idea of calling up the press is downright terrifying. Relax. Here’s the truth – some people you call will be nice, some people won’t be. Some people will never return your calls or emails. Some will. You shouldn’t take any of it personally. You definitely shouldn’t be afraid to try. Covering bands is the job of the music media – they expect to hear from you. Don’t be discouraged by someone who is rude, or someone who is polite, but still says “no”. Don’t write them off, either. Next time, you may hear “yes.”



Industry Tips & Advice: Why Artists Should Own Their Own Publishing

Syd Butler, founder and President of French Kiss Records, tells aspiring artists why they should make sure to retain ownership and control of the publishing rights on the songs they write.

Industry Tips & Advice: What is a Mechanical License?

Producer, musician, and label owner George Howard discusses what mechanical licenses are and how they make money, how revenue from mechanicals is collected, and the controlled composition clause that reduces the mechanical royalty rate under certain circumstances.

Music News: Nas Doing A Free Concert TODAY!

Today (June 2), Nas will performing live at the Gansevoort Plaza in New York City as part of Bacardi Rums “Like It Live, Like It Together” kick-off event.

The free concert is hosted by Elvis Duran and features New York’s Power 105.1 morning show host, DJ Envy, on the turntables.

The Queensbridge legend will hit the stage as part of an effort to help Bacardi bring people together for an experience that turns online “likes” (expressed via Facebook) into real life moments for fans across the country. To kick off the campaign, Bacardi will present top “likes” ranging from food, cocktails, and entertainment by God’s Son.

With no RSVP required, if you’re in the New York City area be sure to stop by the Gansevoort Plaza on 9th Ave & Gansevoort Street to enjoy a free show from Esco. —Nicole LoPresti

Industry Tips & Advice: How to start a career in radio and get music on the radio

LWO Magazine presents 102 JAMZ radio personality Shelly Flash. Take a look at this interview if you want a career in radio or want to know how to get you music on-air.

Industry Tips & Advice: How to Sell 200,000 CDs Without a Record Company – Ty Cohen

Learn How to Market, Promote & Sell Your Music Worldwide Using Nothing More Then MySpace!

Industry Tips & Advice: MUSIC PUBLISHING – AN INTRODUCTION (Part 2 of 2) by Alan Korn

This article is part 2 of an overview on music publishing. In the last article I discussed what music publishers do and the types of income they collect. This column looks at typical publishing deals that are available.

Actually, not every artist needs to enter a publishing deal. It may be wiser to first obtain a major record deal before finding a music publisher. Conversely, publishers may want nothing to do with an artist who doesn’t have a record deal or some other guaranteed way to generate income. In addition, some artists may prefer to hold onto their copyrights and let administration agencies collect their publishing income.


With the exception of print music, income from musical compositions is generally split on a 50/50 basis between the music publisher and writer. The publisher’s half of this income is called the “publisher’s share,” and the writer’s half is the “writer’s share.”

To illustrate how this works in the real world, let’s take the following example. Imagine a publisher collects slightly more than $.68 (68 cents) in mechanical royalties from the sale of one of your CDs (actually 10 songs x $.091 cents per song x 75% rate for controlled compositions = 68.25 cents. I’ll round off the extra ¼ cent for purposes of this article). Assuming there are no collection costs deducted off the top, the publisher’s share comes to approximately $.34 (34 cents) and the writer’s share also comes to approximately $.34 (34 cents).

This financial split is a basic, but important, concept. When discussing publishing income, be sure to remember this distinction between “publisher’s share” and “writer’s share.”


Standard music publishing deals come in several varieties. These include song-by-song publishing deals for specific compositions, and exclusive songwriter agreements that may last for a fixed period of years (usually 1 year with options to extend the term). These publishing deals may cover all songs written by an artist, or just those songs commercially released during the term of the agreement.

Under either arrangement, the publisher becomes the copyright owner of the songs. In exchange, the Publisher may pay the artist an advance based upon the potential value of the compositions. Subsequent income generated from these songs is then split, usually on a 50/50 basis. After the publisher recovers its advance, the artist is paid the “writer’s share” of net income received, while the publisher retains its publisher’s share.


Co-publishing deals are similar to the above arrangement, except the artist (or the artist’s publishing entity) co-owns a percentage of the copyright along with the publisher. It is common for both parties to each own 50% of the copyright, though percentages can vary from deal to deal.

In a CO-publishing deal, the songwriter’s publishing entity also receives a percentage of the “publisher’s share” of income. Thus, using the above hypothetical, an artist would receive the “writer’s share” of the publishing “pie” (i.e., 34 cents), while also receiving up to half the net income from the publisher’s share of the publishing “pie”(i.e., an additional 17 cents).

Although CO-publishing deals are sometimes better than standard publishing deals, not all CO-publishing deals are in the artists best interest. For instance, some independent record labels require new artists to enter into a CO-publishing deal with the label’s “publishing” entity. (Ironically, few major labels require this of their artists). Even if you are offered an additional advance for such a deal, you should resist it! Here’s why:

The record company’s goal here is to reduce the amount of money payable to you from record sales (since the record company gets to keep 50% of the “publisher’s share” of mechanical royalty income);
Independent record labels may lack the experience and resources to promote your songs like an independent publishing company;
An independent publisher has more incentive to demand and accounting and collect publishing income from your label; and
It may actually be in your interest to retain these copyrights and enter into an administration deal instead.

In an administration deal, the publishing administrator collects income and also helps promote the songwriter’s catalogue. An administration deal may last for a specific period of time (i.e., 3 years) or for one year with several options to renew. When the term is over, all rights revert back to the artist.

A publishing administrator is typically paid by deducting a percentage of the income it collects on behalf of the artist. After deducting this administration fee (anywhere from 10% to 20% of the gross proceeds) the administrator distributes 100% of the remaining net income to the songwriter(s). As an incentive to promote your songs, some administrators may also charge a slightly higher collection fee for income earned from cover songs.

In some cases, a songwriter may receive as much income from a co-publisher as a publishing administrator. However, while a CO-publisher may be able to offer a generous advance, an administration deal can provide an artist with greater financial and artistic control. There are also many advantages to retaining the copyright to your songs. For example, if your first record sells only moderately but your next CD becomes commercially successful, you may gain greater leverage to negotiate a favorable publishing, CO-publishing or administration deal at a later date.

These two columns provide just a brief overview of the music publishing industry. Because publishing money is often a major source of revenue for recording artists, it is important to know about your publishing rights. For those who want to learn more about this area, one book worth reading is “Music, Money and Success: The Insider’s Guide to the Music Industry” by Jeff Brabec and Todd Brabec. The authors have years of experience in the music business, and their book provides a detailed guide to publishing industry practices, including tips on what to look for in a publishing deal.

Alan Korn
Law Office of Alan Korn
1840 Woolsey Street
Berkeley, CA 94703
Ph: (510) 548-7300
Fax: (510) 540-4821



Industry Tips & Advice: How to Create a Music Image That Sells

Creating an image is the most important tool for a recording artist today! This shows you how to develop one that sells.

Industry Tips & Advice: John Kellogg, Esq. Speaks on Music Business Ethics

Dr. Rick Wright of Clear Channel WPHR Power 106.9 FM talks with John Kellogg, Esq. Re: Music Business Ethics, 12-16-07

Industry Tips & Advice: How to Become a DJ at a Club – Important First Lessons by John Newcomb

DJing is a difficult industry to break into. You may know all the technical aspects of DJing and may even be able to teach others how to become a DJ, but success may still elude you because of the tough competition.

The first thing you need to know is that unless you are phenomenally talented, it will take a long time to get a well paying gig at a good club. You will initially have to begin by freelancing. Freelance DJs are at the very bottom of the DJ industry and do face certain scorn from professionals. The irony is that even the professionals started out as freelancers.

Freelance DJs can usually be found playing at weddings, birthday parties, and small, local events such as school dances. I know this sounds like DJ hell, but this is a very important stage for a DJ – it teaches you how to play music for a very diverse crowd. More importantly, small gigs like these help you pick up the nuances of DJing – charisma, gauging the mood of the crowd, etc. while still getting some all important practice.

These gigs are also good for networking. As any professional DJ will tell you, DJing is a lot about knowing the right people. Try to get to know people whereever you are playing, even if its a wedding. Who knows you may just catch the eye of the right person and land yourself a good gig at a club.

The night club scene is, of course, where all the action is. Before you graduate to this level, you would have hopefully played in smaller gigs several times and have a firm grip on the technical as well as non-technical aspects of DJing. Night club gigs are often make-or-break opportunities (unless you happen to know the owner of the club, of course), and all your experience will come handy at moments like these.

The most important thing for a good DJ is to have a style that is unique to him. This can only be created through extensive practice. At the night club level, having your own unique sound will help set you apart from the others and hopefully open up doors for even more lucrative gigs.

Moral of the story: as a DJ, you should never shirk from any sort of gig, no matter how small it may be. The best DJs started out playing at weddings and school dances. These are valuable practice grounds and you should take up these opportunities whenever you get them.



Article: 411 Music Ten Deep 4.22.11: Top Ten Comebacks by Andrew Moll

Welcome to the grand return of 411 Music Ten Deep! Life got in the way the past couple weeks, but everything is squared away now and we’re ready to move on to this week’s list on the Top Ten Comebacks, but we’ll first look back to the last column and the feedback to the Top Ten Albums of the 2000s:

do you listen to any heavy/aggressive music? just wondering.

here’s my list

1- glassJAw – Worship and Tribute
2- Deftones – White Poney
3- Portishead – 3rd
4- Bloc Party – Silent Alarm
5- Circa Survive – Juturna
6- Sage Francis – A Healthy Distrust
7- Cold – 13 Ways to Bleed on Stage
8- Death From Above 1979 – You’re a Woman I’m a Machine
9- Kanye West – Late Registration
10- Tegan and Sara – The Con
Posted By: philburttheturtle (Guest) on March 31, 2011 at 11:17 PM

Some, but not a lot to be honest. There are some, like Boris, Dillinger Escape Plan and the Austerity Program that either made or came close to making the lists for each specific year.

Beck’s Sea Change is undoubtedly a brilliant album. Glad to see it on the list.

I don’t really understand the one album per artist rule. The White Stripes released three albums that rank as some of the best of the decade (White Blood Cells, Elephant, and Get Behind Me Satan), and In Rainbows to me is more enjoyable than Kid A.

Some other notable albums from the 2000s:

OutKast: Stankonia
Bruce Springsteen: The Rising
U2: All That You Can’t Leave Behind
Green Day: American Idiot
Posted By: matt (Guest) on March 31, 2011 at 11:52 PM

I’ve been doing the one-per-artist thing since the column started and I realize it’s not always fair or 100 %accurate (with this list it was), but I’d rather not have a list that’s all Beatles songs or something.

I’m sorry but list is highly questionable. I think American Gangster was way better than the Blueprint. And what is your fear of mainstream albums. I mean, what’s wrong with American Idiot, or Common’s Be? I understand music sucked this decade, but I’m sure you can find non-undergroud music.
Posted By: thisisntme (Guest) on April 01, 2011 at 03:05 AM

American Gangster better than The Blueprint? Really? I liked that soundtrack too, but to me they’re not even close. And American Idiot was on the list of the best from 2004, if I remember correctly; remember just because something isn’t there doesn’t mean I hate it, it just means there isn’t enough room to fit everything that I liked.

Personally, I don’t buy Kid A as #1. It really is a highly over-rated work. Considering that statement, had you put Is This It by The Strokes at #1, it’d be a different story. Yes, I understand that that album as well may be considered over-rated and on so many Top 10 lists, but it’s for good reasons. The British copy, which is different than the American copy mind you, is the full rock and roll experience. While one could argue that Radiohead are in a league of their own, which many critics and fans of the band can agree on, The Strokes changed popular music for the decade. Is This It became the standard-bearer for rock in that generation, not just for the garage, indie and New York scenes but globally as well. Had it not been for Is This It, you wouldn’t have bands like Arcade Fire, Spoon, The Arctic Monkeys or Civil Twilight (all bands from different parts on the globe) being played on the radio or making it big. Radiohead may have sold out festivals under Kid A and Ok Computer, but The Strokes did that and started a revolution musically, paving the way for said-acts and many more to do the same. That, and they make rock and roll cool again. Let’s be honest because we all know that Radiohead can’t do that (is it really even considered rock music). So you can put Kid A up there, but Is This It is a far better, far more important album for that decade.
Posted By: Guest#8616 (Guest) on April 01, 2011 at 03:51 AM

As far as personal preference Kid A will win out over Is This It every time, in my opinion. And I would argue The Strokes didn’t have nearly the kind of impact on music that people thought they would have. They were supposed to lead the garage rock revival, but kind of got overshadowed by the White Stripes and never regained their spot. And while there is a thru-line from the Strokes to those bands you mentioned, I think Radiohead did just as much for it over the years with the totality of their work, and probably more. Both great albums, for sure, but I just think Kid A was aesthetically better and over the long term made more a mark.

2 things;

1. I’m sick of everyone proclaiming how good of a diss track Takeover is. Ether MURDERED Jay-Z. There was no comeback from that. In terms of albums, no doubt Blueprint > Stillmatic, but to compare Takeover to Ether is like comparing Takeover to Crank Dat Soulja Boy.

2.) Lack of Demon Days, Illinois (Sufjan), Late Registration (or College Dropout really) and Is This It means that this list is flawed. Completely agree with you on Funeral, Sea Change, and to a degree Kid A, but White Blood Cells is the better White Stripes album, and that pretentious hipster bullshit known as Animal Collective doesn’t belong anywhere near a top 10 list.
Posted By: Blode (Guest) on April 07, 2011 at 03:03 AM

1. But “Takeover” is clearly a better song than “Ether”, which in a sense proves the point that Jay-Z won that feud or whatever. (Of course, he had Kanye as his ace in the hole, but it’s still better.)

2. I hate Sufjan Stevens, I’m sorry. I found Illinois to be insufferable, and I have no idea what people hear in it, which must be what it feels like when someone like yourself listens to Animal Collective, so I guess I feel your pain.

Top Ten Comebacks

I was planning on doing this a couple weeks ago in honor of LCD Soundsystem and in the hopes that James Murphy will prove himself to be liar and get the band back together at some point. But now it has a double meaning since it “honors” my comeback from my brief hiatus, so everybody wins. Before we get to the list, though, we’ll look at the albums that just missed the cut, aka the honorable mentions.

Some Honorable Mentions: Mariah Carey; Dinosaur Jr; Gang of Four; Roy Orbison; U2

10. Elton John

Throughout the 1970s, Elton John was one of the biggest pop stars in the world, with a laundry list of hits to his name that included “Your Song,” “Levon,” “Crocodile Rock,” “Rocket Man,” “Tiny Dancer,” “Candle in the Wind,” “Benny and the Jets,” “Goodbye Yellow Brick Road,” “Don’t Go Breaking My Heart” and many more. Needlessly to say, whatever he touched at this period turned to gold, becoming as sure a thing on the pop charts as could be. Things changed in the mid-1980s as drug issues took their hold on John and he became less of a sure thing that he had been before.

So it was somewhat surprising when John re-entered the charts and the public consciousness with 1991′s The One, which hit number two on the charts and went double platinum in the US. It also allowed him the opportunity to become the newest hitmaker for Disney films, including the insanely popular soundtrack for The Lion King. Whether or not his work has been as good over the past couple decades as it was during his original heyday is up for debate, but there’s no denying that his comeback on the pop charts was nothing less than impressive.

9. AC/DC

There’s really no precedent for what AC/DC was able to accomplish on the wake of lead singer Bon Scott’s death in 1980. After the release of Highway to Hell the group was poised to fully break through and reach the top of the hard rock heap, but Scott’s death seemingly put a halt to that ascension. But the band decided to soldier on and find themselves a new lead singer, which they did in Brian Johnson, who more than ably stepped into Scott’s position and helped AC/DC create the album that would make them stars.

Back in Black was released in July 1980 and would become one of the cornerstones of hard rock music and sell over 49 million copies worldwide thanks to the strength of classics like “Hell’s Bells,” “You Shook Me All Night Long” and the title track. The gamble had paid off for the band and would continue to over the next three decades, became legends and eventually Rock and Roll Hall of Fame inductees. Considering the tragedy the band suffered, it’s amazing the heights that they would end up reaching.

8. Elvis Presley.

By 1968, Elvis Presley was in a drastically different position than the one he had been in a decade previously. The rock and roll era that he had been so important in ushering in was now led by the likes of The Beatles and Bob Dylan, and Presley was largely forgotten about, making movies in Hollywood and releasing albums that didn’t even crack the Top 80 of the charts. In hindsight, the time was perfect for Elvis to make his presence known again, and that’s exactly what he did with his NBC television special.

What is now commonly referred to as the ’68 Comeback Special became the highest rated television program of that year and was singlehandedly responsible for resurrecting Elvis’ music career. Featuring a mix of big production numbers and more intimate sons with Presley and his band on acoustic guitars with a small audience, the program was a huge hit and reminded people of the kind of dynamic performer Elvis had been and why he became a megastar in the first place.

7. Meat Loaf

There was quite literally no reason for anyone to believe that Bat Out of Hell II: Back Into Hell would become a massive hit in 1993, and yet, it did. The original, released sixteen years earlier, sold over 40 million albums worldwide and should have set Meat Loaf up for a long and fruitful career, but instead he had a career of diminishing returns until he and songwriter Jim Steinman returned the project that had previously given them so much success.

Even then, no one could have predicted that the sequel would go on to sell more than 20 million albums itself and spawn a massive hit in “I’d Do Anything for Love (But I Won’t Do That).” It was an amazing comeback story of the best kind, where a forgotten talent all of a sudden and against all odds comes back like, well, a bat out of hell, and reclaims the spot he had held onto once before. Nothing Meat Loaf has done since has matched that effort, but it doesn’t have to since one such amazing comeback surely is enough.

6. Tina Turner

Ike and Tina Turner were an incredibly successful duo throughout the 1960s with hits like “A Fool in Love” and their cover of “Proud Mary” making them stars. But as time went on, both their group and their marriage began to fall apart in the worst way possible. Eventually in 1978, Tina went out on her own in search of the kind of solo success that a talent like hers deserved.

After some years struggling commercially on her own, Turner broke through in a massive way with “What’s Love Got to Do with It,” which became a huge Number One hit and propelled her album Private Dancer to more than eleven million copies sold, and completing one of rock and roll’s greatest ever comeback stories. Her popularity stayed high throughout the years, with books, movies, albums and some of the most successful tours of recent times. It was a well-deserved comeback, where a talented performer gets their just dues.

5. Eminem.

Eminem was the great hip-hop superstar of the early 20th century, one who reached the zenith of pop music while straddling the line between Total Request Live and his harder-edged side. He was a funny, witty, talented young man who turned everything he touched into gold. From 1999-2004, Eminem sold more than 30 million albums in the United States alone, but eventually fell into problems with prescription drug use and eventually time away from the spotlight that resulted in some speculating his time as a star was over.

He didn’t do himself any favors with the uninspiring Relapse in 2009, which made it appear as if rumors of Eminem’s demise were pretty accurate. Things changed however with Recovery the following year, the multi-platinum, Grammy-nominated smash that saw Eminem reclaim the throne more than a decade after he took it in the first place, which is an eternity in hip-hop. It also shows that from now on, we’d probably be smart not to go and doubt Eminem’s ability to continue selling records.

4. Mission of Burma

Mission of Burma were never stars during their first tenure together, releasing one EP, one album, and playing countless shows around the country to probably very few people. So when the trio broke up in 1983 thanks in part to Roger Miller’s growing problem with tinnitus, the news didn’t exactly make waves among the industry except for those lucky enough to have experienced the band while they were around. The members went off into different projects for the next couple decades, but as time went by the band’s reputation grew, and the time was right for a reunion.

Reunion shows in 2002 went incredibly well, as the band was now much more popular than they had ever been in the 1980s. Three studio albums have followed in the years since, with each of them proving that the band accomplished something much more difficult than just matching or overreaching the popularity for a reuniting band; their newest work was considered to be just as good as the work they had done before, which isn’t an easy task for a group of older punk rockers. The band’s brutal live concerts ensure this new edition of Burma may not last much longer, but their time together this last decade ensure them a place beyond just stories about how great they were, and instead gave some more proof to the argument.

3. Bruce Springsteen and the E Street Band

The success, commercially and creatively, that Bruce Springsteen and the E Street Band enjoyed for more than a decade is pretty remarkable and also tough to live up to. After Bruce split from the group in 1988, he went solo to varying degrees of success, but even with his triumphs, like an Oscar win for “Streets of Philadelphia” it just seemed like there was something missing. Everything was rectified in 1999 once we got the Bruce Springsteen and the E Street Band reunion tour.

Playing 133 shows in 62 cities over 15 months, the tour provided the kind of quasi-religious experience that only this group could provide and laid the groundwork for a new studio album. It was an album that arrived at the perfect time, as The Rising reflected the America we were living in after September 11th, and while a Springsteen solo album might have done the trick, having the entire E Street Band just made everything that much better and that much more important. More albums and many more concerts have come in the following years, making it seem as if there was nothing to come back from in the first place.

2. Johnny Cash

This may shock you, but at one point Johnny Cash was not cool. By the late 1980s/early 1990s, saying “The Man in Black” didn’t conjure images of an outlaw and a music legend; it was just some old country star. Enter Rick Rubin, who sought to make Cash relevant again for a new audience and succeeded with 1994′s American Recordings, a collection of modern cover songs done with just a guitar and Cash’s voice; the album presented Cash to a new generation and gave his career another life.

Not even a 1997 diagnosis of Shy-Drager syndrome could stop Cash at this point, as he would go on to record three more American albums with Rubin, and even had himself one last hit with a cover of Nine Inch Nails’ “Hurt,” as the song and accompanying video provided a fitting conclusion to Cash’s career and ultimately his life as The Man in Black died in September 2003. But that whole new generation saw him in a different light than they would have without Rubin’s help, and their newfound appreciation for what Cash had done is one reason why this deserves to be considered one of the great comebacks of all-time.

1. Aerosmith

Aerosmith were in some ways the preeminent American rock band of the 1970s, and one of the best and most popular thanks to “Dream On,” “Walk This Way,” “Sweet Emotion” and many, many more. But drugs, ego and whatever else eventually got in the way, and things began falling apart in 1979 when guitarist Joe Perry left the group. Things got worse from there, with the Steven Tyler and the remnants of the band releasing the amazingly awful Rock in a Hard Place in 1982, and it looked like the band’s time was done.

Eventually the band got back together and had moderate success with Done With Mirrors, but it took a rap group Queens to really bring Aerosmith back to the top. Their collaboration with Run D.M.C. on “Walk This Way” set the stage for an Aerosmith comeback, and they made the most of their opportunity. Permanent Vacation, Pump, and Get a Grip saw the band find a new home with the MTV audience and they were rewarded with massive success. It helped that they were a refocused and reenergized band releasing some of the best music they had ever created. Where Aerosmith goes from here is anyone’s guess but they’ve earned the right to do whatever they please thanks to what is undoubtedly the greatest comeback story in the history of rock and roll.

That’ll do it for this week folks, thanks for reading. If you have any questions, comments or concerns feel free to let me know, and make sure to leave your own lists in the comments. I’ll see you all next week. And if you’re out on your bike tonight, do wear white.



Article: 50 Cent Explains Beefs With Diddy and Jadakiss, Promises New Album by ANDRES VASQUEZ

G-Unit’s General speaks on the state of his relationships with Jadakiss and Diddy and explains why he won’t release an album he’s completed.

50 Cent recently spoke on why he has an album in the vault that he will not release and why he has chosen to reconnect with former rivals. The head of G-Unit recently met with Funk Flex at Funk Flex Full Throttle, a new show on MTV. The inaugural episode featured 50, who also ensured fans that he is nearly finished with a new disc.

When asked about his work to mend relationships with former rivals, 50 said he felt it was necessary at times. He also added that certain beefs were never personal.

“Some of it is Hip Hop. It’s just the competitive nature of the art form. Like with Jadakiss’ situation, that was just Rap. I don’t have a reason [to beef]. When you look back at it, when two years go by, and you say, ‘Why don’t I like them?’ And you can’t remember why, then you know it’s Rap.”

This led to a discussion around Diddy, someone 50 has had words with in the past. Their feud began when he spoke about extorting Diddy on “How to Rob,” saying he’d “snatch Kim from Puff.” Later, their feud escalated when Fif said Diddy was not “biggin’ up his brother,” but added that he was only giving love to the Notorious B.I.G. as a form of “biggin’ up his bank.” He also compared the head of Bad Boy to a “bitch” in a separate interview. Diddy also shared his displeasure with 50 Cent by saying his “breath stinks,” adding that he’s “ashy” and that he’s “a sucker,” before calling him a “hating ass crab.” However, now it seems the two are on good terms.

“I’m not upset with [Diddy] at all,” he said smiling, adding that they speak on the phone from time to time. “He’ll call me like, ‘What’s the next move, playboy? Why I feel like you doing this?’ And I’m like, ‘Nah, nah, it ain’t nothin’.'”

Aside from rehabilitating relationships with Hip Hop peers, 50 has also been working on a lot of music. During his interview, he also added that he is presently working on a brand new album, one that will replace a disc that is already in the can.

“I’m working on a record now. I’m almost done,” he noted. “I recorded a whole album before this one that I kept…Because I want to make sure it’s completely up to my standards. I’m critiquing myself.”



Music News: Nas Talks Ending Beef With Prodigy [Video] by Randy Roper

Nas Talks Making Peace With Mobb Deep’s Prodigy

In a recent interview with MTV News, NYC rapper Nas talked about putting his differences aside with Prodigy of Mobb Deep.
In the interview, Nas told Sway of MTV about his conversation with Prodigy, saying, “He called me as soon as he got out of jail; he got in touch with me. We talked about some things. I didn’t know he had a book. He didn’t tell me that. I guess he just wanted to clear the air on some past things that don’t mean anything today.”

Prodigy was released from prison in March after serving three years.

Prodigy’s book, “My Infamous Life,” has been controversial throughout hip-hop, talks about the relationship between the two Queens rappers.
Since making amends Nas and Prodigy have worked together on the Mobb Deep record entitled “Dog Sh*t,” which was released online in April.
“I just jumped on the record; put that to the past or whatever ill feelings he had towards me,” Nas said. “I think he was misinformed about things, like I was a negative guy or like I was trying to harm him in any kind of way. I think maybe he just grew up a little bit.”

Nas is currently in the studio working on a new album, but could not say when anymore songs with Prodigy would be in the works.

“At the moment, I just got back into the studio, and my focus right now has been just starting to work on the album, so who knows?” Nas said.



Article: Raphael Saadiq: “I do exactly what Hip-Hop did.” by Selamawit “Sully” Mulugeta

Raphael Saadiq makes the gamble of his career with STONE ROLLIN’, his fourth solo studio album. By charting new musical territory, Saadiq rolls the dice on his R&B icon status. Our conversation revealed, if not his motive, his logic behind the album. STONE ROLLIN’ in its entirety risks being a genre of its own, but with it Saadiq disregards the present, unravels the past and determines the future of music–win or loose. For more on Saadiq, pick up the latest issue of The Source on newsstands now.

How do you hope that your fans will receive this new album?

I hope that they just kinda grow with me, move with me, and come, you know, stone roll with me, and come out and just have a good time, and just welcome the maturity and the longevity of this record. I saw this as another part of a body of work that I can add to everything that I’ve done.

Every type of music you’ve ever been exposed to is somehow incorporated in this album so I was wondering how you decided to put certain sounds together.

I think I’m having fun with the instruments itself. If you have the instruments you supposed to play them. I own a lot of instruments, and I’m like “These kind of instruments deserve to have these type of songs.”Umm, I think I just always knew what kinda music I liked, and what kinda instrumentation goes with what, and what kind of energy you want to put out. I’ve always done the same thing, like whatever moved me, whatever I kinda wanted to travel with.

After the Grammy’s and your performance with Mick Jagger I was feeling like you might’ve been making a statement about where you are musically. Was that intentional? Or was that just me imagining things?

You know what, I think it’s the universe, everything is just falling into place because I already made the album and I already titled my album Stone Rollin’ then I get a call from Mick Jagger. I just think when stars line up you can’t really stop what’s happening. The forces push me in the areas I’m going.

On “Radio”, the Chuck Berry style joint, I think that’s when we first hear what the meaning of Stone Rollin’ is, and you say “I tried to move away, she found me the very next day,” and I was wondering is that song about your relationship with R&B?

Yeah, the roots of Rock ‘n Roll really. Like Chuck Berry was Rock ‘n Roll. Like the Mos Def song, back in the day when he was saying, such and such “Ain’t got no soul, Check Berry was Rock ‘n Roll.” You can’t really run away from it no matter what you do. It’s gonna find me. This kind of music is always gonna find me no matter what I like if it’s Hip-Hop, R&B, you know, funk, this music has always found me. And it’s always on the radio too. No matter what station you listen to you could roll the dial down, this music never went away.

Though it’s not prominent, there’s definitely a Hip-Hop element in the chemistry of this album. What’s the story behind that?

Well, prominently I’m not a Hip-Hop artist. I just work with a lot of Hip-Hop artists but I do feel like Hip-Hop is what held, you know, the music industry up for so long and it’s with old and new sounds and that’s what I do, exactly what Hip-Hop did. It brought old flavor and new flavor at the same time and that’s what I try to do with all my albums. Bring you know, something that you heard before but then there’s something new about it. To me that’s what Hip-Hop brought to the world. And then when you hear songs like “Over You” it’s like sort of my tribute to like Run DMC, and Rick Ruben, and these people and that whole era of Hip-Hop. “99 Problems” with the bum-bum-bum-bum (sings) I was really trying to do my take, a singer’s take, on New York’s Beastie Boys, and Run DMC, and Rick Ruben.

In “Go To Hell”, which was definitely one of my jams on the album, you say “I’m going to be a warrior of everything I say.” And it was just such a powerful statement and I poured over it until I realized that it’s essentially the meaning of your name. Was that intentional?

Yes. It’s just like everything I say everything I play, I’ve been so incorporative of – I don’t wanna say real music – but just music that I feel. You know everybody think they music is real. So, I don’t wanna say real music but just things that I feel – I wanna champion now.

Awesome. So you collaborated with a few folks on this album. You got Robert Randolph on “Day Dreams” and we hear Little Dragon and then Larry Dunn on “Just Don’t”. So, how did you identify these artists to become a part of this specific album?

Well, as I started piecing it together, I started um hearing who could do what. And then I had Larry Dunn on “Just Don’t” and then I figured Yukimi would sound good on this part, from Little Dragon. And then I wrote “Day Dreams” and then I figured out that Robert Randolph would sound good on this record. So I just kinda pieced it as I went along.

The puzzle was already built but they just finished the puzzle for me you know. And, I’m such a fan of what they do, that you know, when I hear a piece of them on something I do it makes the record feel that much more complete.

Are there any other artist in different parts of the world that you’re studying right now?

I might do something with Ayo. I plan on being in New York a lot more so probably a lot more European artists too.

I find it interesting that this album is reflective of – and I hate when people keep saying Motown inspired because it’s more than that – but for the sake of this question, I feel like the album is reflective, at least, of a time period when people were more political. Do you think your album might have that kind of impact on people of today?

I hope it does. It’s as far as I really wanna get into [politics]. Whatever’s happening politically in the world makes you speak a different language, even if you’re not into politics. I feel I’m probably speaking a certain way because of the conditions of the world. So whatever’s in the air is kinda what comes out of you without being preachy. This is something that’s good to come home to – if you’ve had a hard day, this is the kinda record you go home and go, “OK this is also happening in the world.” At this time, when this is happening, when we have a Black president, there’s wars goin on, tsunamis here. When I wrote “Go To Hell,” I said you know, “I can see my name written across the sky. Storms in the mountains, storms in the sea.” And all these things are happening that I sing in the song. It’s kind of confirmation that lets me know just to do what you feel and put it out there, and let people find what you do important.

And to the people who like what we do: buy our music like pop fans buy their music. Don’t be a hypocrite.



Article: Rakim Says Hip-Hop Needs Some Renovation by JT LANGLEY

A return to the roots has been a topic in hip-hop ever since the 90s Mafioso crossover back when, and though it’s an up-and-down argument as to how the genre needs to reinvent itself with the past in mind, massive renovation has yet to take place in the general mainstream. Artists have talked here and there, and some have listened, but Rakim, the emcee who most will say is the greatest to ever touch bars, from ’87 with Eric B, to The Seventh Seal in 2009, shared some words to the public in a recent interview with The Guardian on the topic.

“It’s hard,” Rakim said. “The conscious level is definitely low and the substance of the music is so much lighter, but you have to understand the game is young in new places. It’s still growing…We really need some of that consciousness, that fly on the wall that watches over us and comments. I like B.o.B. and Lupe Fiasco a lot, they’re both exploring the music, but I don’t see a lot of artistry out there.”

I’m done talking about Odd Future in individual articles, but they’re a major player under Rakim’s words, being that they are the youngest mainstream music makers at the moment, along with [name your favorite gangster rapper of the 2000s], and your Lil Bs, Guccis, and Waka Flockas. And you can stretch it far beyond that.

Hip-hop’s holding some roots and making some major steps forward in style, but they don’t seem to be stretching back to remember The Bronx origin and tradition of the artform, so Rakim’s putting it right. If you’re going to argue against him, it better be a damn good one.

Throw up your thoughts.



Article: Juvenile Reflects On The State Of Hip-Hop by STEVEN J. HOROWITZ

Juvy gives his two cents on the game and how low cash-flow has hurt the rap community.

Juvenile came up as one of the flagship artists for Cash Money Records, but the game ain’t the same for the Louisiana rapper. Juvy recently explained how money doesn’t flow like it used to, and that hip-hop artist aren’t the only ones feeling the sting.

“I wish it was making more money, man. I can’t judge cats out there who doing they thing,” he told Southern Smoke TV. “Of course, I’m a [Lil] Wayne fan first, and everybody else fall behind that. But it’s a whole lot of rap that’s not good rap out there. Probably better music than my era but they not getting paid for it. I wish there was another way we could get some revenue in. The show money ain’t even like it was because street niggas ain’t eating like they used to eat.”

He continued by explaining the trickledown effect that low revenue can have on club owners. “It’s ugly all the way around,” he stated. “I’ll show you where it hurts us now. Of course, a lot of those cats are the cats who spend money on booking us shows and buying music. But when all that’s sold out, it kind of hurts man, especially the club owners saying they ain’t making no money because they ain’t selling no alcohol. All of that is kind of a trickledown effect for what’s going on right now.”

The former Hot Boys member most recently signed to Rap-A-Lot to release his next album.



Article: Lost in the Common Controversy: The White House Celebrates Poetry by John Lundberg

f you heard about the White House poetry event this past Wednesday, you probably heard about it for the wrong reasons. The decision to invite hip-hop artist and actor Common to read poetry drew a surprising amount of furor from the right. Former Bush senior advisor Karl Rove and Fox News host Sean Hannity, among others, offered their in-depth analysis of Common’s lyrics, coming off like a couple of flustered freshmen in a poetry workshop. I suppose such strange distractions are to be expected in the weeks after your political enemy kills Osama bin Laden, but the Common silliness was unfortunate, as it tarnished what was otherwise a great day for poetry.

On Wednesday afternoon, Michelle Obama hosted a poetry workshop at the White House for 77 young poets who were flown to Washington for the event. The workshop featured former poets laureate Rita Dove and Billy Collins, and the inaugural poet (and friend of the President and First Lady) Elizabeth Alexander. The First Lady lauded the young poets for taking emotional risks and striving to connect, and she admitted that growing up, she leaned on her writing and was a bit of a poet herself. The professionals offered advice as well, most of it inspiring, and some more realistic, as when the always-entertaining Billy Collins quipped, “You shouldn’t worry about whether you’re good now. You probably aren’t that good, but you’ll get better. There is hope.”

The President hosted a poetry reading that night and owned up to publishing a couple of poems in his college literary magazine (which you can read here). He also spoke well about the power of poetry:

Everybody experiences it differently. There are no rules for what makes a great poem. Understanding it isn’t just about metaphor or meter. Instead, a great poem is one that resonates with us, that challenges us and that teaches us something about ourselves and the world that we live in. As Rita Dove says, ‘If [poetry] doesn’t affect you on some level that cannot be explained in words, then the poem hasn’t done its job.’
The reading (which you can watch here) featured an eclectic collection of poets, including the aforementioned Dove and Collins, singer Aimee Mann and spoken word poet Jill Scott, who was just “really geeked” to be there. In case you’re wondering, Common performed and did not attack America.

As the President put it, “poets have always played an important role in telling our American story.” It’s refreshing that, on Wednesday, he put the art form in the spotlight and let it speak.



Article: Facebook App Helps Musicians Collect Unclaimed Royalties by Brenna Ehrlich

About $5.3 million in unclaimed royalties are floating around, just out of the grasp of deserving artists. RootMusic, maker of the Facebook app BandPage, teamed with performance rights non-profit SoundExchange to put that money in the right hands.

Musicians garner royalties whenever their music is streamed on the Internet or played on digital satellite radio or cable music channels. SoundExchange, an organization enlisted by Congress to distribute digital performance royalties, collects those royalties and distributes them to bands. However, bands have to be registered with SoundExchange in order to get the cash. Unfortunately, some of those bands are unaware of the money they’re making and don’t register.

To right that wrong, RootMusic gave SoundExchange a list of artists who have used its Facebook app, BandPage, so that the organization could connect with any artists with unclaimed royalties. How many bands were missing out on the dollars? 7,462 out of the 150,000 bands using BandPage. That’s a lot of Ramen and guitar picks.

A lot of apps like BandPage are cropping up, including MySpace’s new offering. This partnership definitely will make RootMusic more attractive to bands choosing which service to use.



Music News: Big Boi To Launch Kids Record Label with Daughter by Jason Lipshutz,

Outkast rapper Big Boi tells Billboard.com that he and his 16-year-old daughter, Jordan, have formed Purple Kids, a new record label that will launch in the coming weeks. The imprint will feature a roster of younger artists but will target fans of all ages.

“My daughter just turned 16 years old, and you can see it on MTV’s ['My Super Sweet Sixteen'], where they get cars, and things that depreciate and just don’t mean nothing,” says the 36-year-old rapper (real name: Antwan Patton). “I wanted to give my child something that she can grow and build and nurture. So I gave her her own label.”

Big Boi says that Purple Kids’ first signee is Gabbie Rae, a 12-year-old singing prodigy who has appeared on “The Tyra Banks Show.” The rapper, who already heads the Purple Ribbon All-Stars hip-hop label, says that he and Jordan are the sole partners on the new imprint.

As for Big Boi’s solo career, the Outkast member’s label situation slightly shifted when Barry Weiss took over for Antonio “L.A.” Reid as Island Def Jam’s chairman/CEO last March, but Big Boi says that all is running smoothly as he continues working on the follow-up to last year’s “Sir Lucius Left Foot: The Son of Chico Dusty.”

“I had a conversation with Barry Weiss, and he was like, ‘Hey Big, great album,’ and he’s ready for the next album,” says Big Boi. “And he wants it ASAP. So, you know, everything’s good.”




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