Not only did they overcharge for cds but now they might be trying to overcharge for downloads. Link
From NYTimes article:
The New York attorney general, Eliot Spitzer, is investigating whether the four record companies that dominate the industry have violated antitrust laws in the pricing of songs that are sold by Internet music services, according to people involved in the inquiry.
Don’t miss your chance to see a screening of Henry Chalfant’s Mambo To Hip-Hop. Link, previously: Mambo To Hip Hop Film Screening, trailer
Friday, Jan. 13; 8:30pm
From Mambo to Hip Hop
Henry Chalfant, U.S., 2005, 56mThere’s a postage stamp of an urban sidewalk known by people of a certain age for having burned to the ground. A more recent generation know it as the place where, out of the ashes hip hop and break dancing were born. An older generation remembers when this turf, The South Bronx, produced salsa. A testament to the neighborhood’s power to revitalize itself through music and dance and to take the world’s pop culture by storm. Introduced by director.
The promosite for the Ghostface Killah Doll is up. I can’t believe it, maybe I should exchange the Vincent Gallo doll I got for christmas?. Then again, I probably can’t even afford the mini 14k chain the GFK doll comes with. theghostfacedoll.com
Each Ghostface Killah doll includes:
Real 14 karat gold chain
Real GFK Robe
Gold Chalice with Swarovski crystals
Each doll will include a Ghostface Killah Doll mixtape dy a world-famous DJ tba
Real 14 karat gold avenging eagle accessory (extra)
Each collector will have a 1 in 500 chance to spend a day with Ghostface Killah himself
Each Doll will come in a limited edition gold sealed box
Ghostface Killah is fully involved in all aspects of the project from manufacturing to promotion
Each Doll speaks original recordings of Ghostface Killah catch-phrases
Doveink music video for “been here before”, from Illogic’s second Write II Death album. Link (myspace page, .mov loads automatically)
I wish Jeff Leeds would have asked Steve Gottlieb, chief of TVT Records, to also comment on who was responsible for promoting MOOD and how could they fail so miserably? Anyway, nice timely article on the empowerment of indie labels, primarily through the internet. You can read the full article at the nytimes site. Link
The Net Is a Boon For Indie Labels
By JEFF LEEDS
Even as the recording industry staggers through another year of declining sales over all, there are new signs that a democratization of music made possible by the Internet is shifting the industry’s balance of power.Exploiting online message boards, music blogs and social networks, independent music companies are making big advances at the expense of the four global music conglomerates, whose established business model of blockbuster hits promoted through radio airplay now looks increasingly outdated.
CD and digital album sales so far this year are down 8 percent compared with the same period a year ago, according to Nielsen SoundScan data. And while sales of digital tracks through services like iTunes have risen 150 percent, to well over 320 million songs this year, that rise is not enough to offset the plunge in album sales. Overall sales are down less than 5 percent if the digital singles are bundled into units of 10 and counted as albums, according to estimates by Billboard magazine.
GRANDGOOD is proud to present an exclusive audiocast featuring music by Dextah, a Los Angeles based producer originally from Chicago. He blesses us with a 19 minute, 40 second mix featuring released and unreleased songs and instrumentals from various projects including:
–the upcoming CD/DVD titled Relentless Disillusion where he handles all the music and his partner System D128 (Banned in Libya - Diplo, Silverback Mountain King - Bigg Jus) handles the visuals
–his track from the split 45 he did with Age titled Another Day At The Job
–his recent contributions to the Bash Brothers’ album Everyday
–unreleased songs and instrumentals
Look out for his releases in 2006 and his work on future GRANDGOOD projects.
Feed: subscribe
File: download
Size: 37.7 megs
Playtime: 19min 40sec
Picture: Relentless Disillusion Coverintro - dextah
the sun never shines - dextah
america rmx/america - bash bros.
america sample - donny osmond
cypress hill sample - bb king
souls of mischief/murs sample - ramsey lewis
drum break 1
drum break 2
drum break 3
uptown - l.e.f.t.
cover your eyes - dextah
my my - dextah
pimp parade - bash bros.www.myspace.com/dextah
www.dextahmusic.com
www.thebashbros.com
GRANDGOOD Audiocast: Generally we feature newly released Independent / Contemporary Hip-Hop, as played by people from GRANDGOOD. Broadcasted on the eleventh of each month. Every now and again grandgood friend Lapu Patiño also blesses us with random audio. Visit www.grandgood.com for more info. GRANDGOOD recomends Avant Browser for all your RSS/browsing needs.
One of our favorite producers has just finished pressing up a new 7inch featuring two new instrumentals. Meaty Ogre and Tony Janda collaborated for the project and are known as Marrow Of The Mind. Link
In May of 2005, I was living in bumblesfuckville Rochelle, IL. My friend Tony came by a few times, and we made these two instrumental songs. One is an ode to the best sandwich shop in Rochelle, and one is about the epic journey from Chicago to Rochelle. We mixed it down in the South Bronx, with the incredible Fred One. This is the first release on Pentoca records, and we hope to provide you with more sounds like this for years to come. We are Marrow of the Mind, and we hope you enjoy this 45. This 45 can be purchased though Paypal for $5 plus shipping. Shipping in the US is $1.50. Overseas shipping will be $4.50. Paypal your order to gaelin@sbcglobal.netPlease contact gaelin@sbcglobal.net for inquiry’s about wholesale for your shop/website.
MP3 clips for the fast internet users:
Marrow of the Mind - “88 To Rochelle”
Marrow of the Mind - “Naple’s Deli”Real Audio Clips for the slow internet peoples.
Marrow of the Mind - “88 To Rochelle”
Marrow of the Mind - “Naple’s Deli”
Blake9 & Comel of Candlewax Records and Da Vu & Eyamme of Dove Ink Records both come strong flippin’ the same horny sample (yes I used horny in that context). For me, Comel of 9:15 brings the heat more than Da Vu, but that’s just me.
Da Vu - Glory Be (snippet)
buy the record
Robbie from Unkut wraps up his series of posts on Tragedy Khadafi with something I’ve never heard before, impressive. Link
Signed by Rick Rubin before he was old enough to drive, mentored by gangster pimp turned NBC NYPD detective Ice-T, carrying crates for Bambaata and being an OG member of Zulu nation, Chino-XL has been around for a minute. His career seems to have experienced heavy swings, which are apparently reflective of his personal life. Almost blowed up is a common phrase attached to his name and personally, I’ve always been a curious fan. So big thank you to spinemag for pointing us to an informative interview conducted by allhiphop, very on point. As a bonus I uploaded his track “When Thugs Cry” from ‘98. I really wanted to upload “Kreep” but I’m too lazy to rip my tape single. Link (via spinemag), When Thugs Cry
After entertaining industry heads for years with his writings on hip-hop music and culture (amongst other things), Ethan Browne has decided to concentrate on New York’s (mostly Queens’) underworld for his first book. Queens Reigns Supreme is the title of his project which supposedly goes into depth about the real ghetto superstars that influenced so many rappers. Picture above taken from the promotional site features, left to right, Lorenzo Nichols, James “Wall” Corley and Kenneth “Supreme” McGriff.
www.queensreignssupreme.com (via hiphopdx)
About the Book
Based on police wiretaps and exclusive interviews with drug kingpins and hip-hop insiders, this is the untold story of how the streets and housing projects of southeast Queens took over the rap industry.For years, rappers from Nas to Ja Rule have hero-worshipped the legendary drug dealers who dominated Queens in the 1980s with their violent crimes and flashy lifestyles. Now, for the first time ever, this gripping narrative digs beneath the hip-hop fables to re-create the rise and fall of hustlers like Lorenzo “Fat Cat” Nichols, Gerald “Prince” Miller, Kenneth “Supreme” McGriff, and Thomas “Tony Montana” Mickens. Spanning twenty-five years, from the violence of the crack era to Run DMC to the infamous murder of NYPD rookie Edward Byrne to Tupac Shakur to 50 Cent’s battles against Ja Rule and Murder Inc., to the killing of Jam Master Jay, Queens Reigns Supreme is the first inside look at the infamous southeast Queens crews and their connections to gangster culture in hip hop today.
Great resource for people interested in learning about copyright infringement, case by case. The site lists well known cases that have occured throughout the twentieth century, including descriptions, analysis and audio. As you might have guessed, many of the post 1985 cases include popular hip-hop songs. Link
Bridgeport Music v. Dimension Films, et al.
aka George Clintion “Get Off Your Ass and Jam” vs. Dimension Films, et al. “100 Miles and Runnin” (NWA)
Newton v. Diamond
aka James W. Newton “Choir” vs. Beastie Boys “Pass The Mic”
Marlon Williams v. Calvin Broadus
aka Marley Marl “The Symphony” vs. Calvin Broadus “Ghetto Symphony” (snoop & friends)
Over at the revamped Wax Poetics website, you can check out an interview with Dan The Automator (you know, Dr. Octagon, Handsome Boy Modeling School, Deltron 3030, Lovage, etc.). Mr. Automator shares his thoughts on the Solesides crew, long-time friend DJ Shadow and his shelved solo album. Link
Wax Poetics: Well, after all these collaborations and projects—will there ever be a Dan the Automator solo project like A Better Tomorrow?
Automator: Ha! There already is. I was unfortunately signed to MCA, who signed me to a solo deal. But then they pulled because the label was being ran by someone who didn’t know what the fuck he was doing. I think it’s a solid record, but now it’s a little out dated. There are a lot of great guests and surprises on it too. Everyone’s gonna have to wait. I’ve been fucking waiting forever. I have the basic foundations, but now I have to touch it up more. It’s frustrating, but it’ll have its time one day.
Andreas Pavel invented a personal portable stereo player around 1972, almost a full decade before Sony began to sell and market their version. Not only did he put the contraption together, he was smart enough to patent it, in various countries. Needless to say, he foresaw a piece of the future, correctly sensing people’s desire for mobile entertainment. And if you think Sony didn’t have to pay up, think again. They settled with Andreas out of court for an amount in the low eight figures and he get’s royalties on some sales. Of course this was after a legal battle that almost bankrupted Andreas and lasted for over a decade. Nice to see he overcame. I wonder if he gets back-royalties? Link
Another month’s worth of music. The releases featured below are currently available for purchase or will be very soon. Please support the artists and they will support you.
stay warm,
people (at) grandgood (dot) com
FEED: 001100.xml
MPTHREE: GG_121105.mp3
Size: 65.9 MBs
Playtime: 47:59
Tracks: 14
01. “I” (andrew bird)
by Joey Beats
02. anti-happy
by Third Sight
03. whiskey bar
by Stryke, Verbal, Pnam
04. chicken n tea
by Da Vu
05. raekwon state of grace
06. the great diamond d
by Sadat X with Heltah Skeltah
07. bad day
by Insomniac
08. all for what
by eibol
09. homework
by yak ballz
10. why it gotta be like that
by shareka + raizin hell
11. turn my mic up
by starrs and murph
12. showdown at the hoedown intro
by prince paul and newkirk
13. internet going nuts (chopped & screwed version)
by Paul Wall
14. crooner island
by Mike Ladd
Audiocast: Generally, newly released contemporary HipHop with not enough press. As played by GRANDGOOD. Broadcasted on the eleventh of each month. Visit www.grandgood.com for more info.
Came across this great Jaz-O interview via Spine Magazine. This excerpt doesn’t do justice to the entire interview (or Jaz-O as he comes off a bit arrogant, but be assurred it is taken a bit out of context as the rest of the conversation builds to this moment) so make sure to check the whole thing. Link
*Before we go any further, can you give a 101 to those that don’t know on why you can say everything you are?*
Because I am Jaz-O, because I am the Originator. I’m the reason why there was subtitles on “Nigga What, Nigga Who (The Originator ‘99).”That was my song and it was featuring Jay-Z. I started Jay-Z. I taught Jay-Z what a stanza was. I taught Jay-Z what bars were. I produced “Ain’t No Nigga” and “Rap Game, Crack Game” for Jay-Z. I produced the Lox’ demo for Bad Boy and one of the songs on that demo Puff took for himself and put it on the “No Way Out” album. I produced songs for M.O.P. like “World Famous.” I produced for Queen Latifah. I had a hit single with the O’Jays and I toured with the O’Jays. The list goes on.
I’ve been rhyming since I was 13 years-old. The reason why I have a right to say all of this is because I’m the originator of the triplet style. Nobody, not even in the Midwest, was rhyming fast like me. I was doing the shit in 1986. I got a song with Jay-Z and these other two kids from Long Island on it, and it’s called “HP Get’s Busy” and I’m rhyming fast on that. We did that in 1985. We put it on vinyl in 1986. I was still doing it before that. None of these niggas with the “I’m the supersonic electronic,” that wasn’t really fast rap, that was just some double-time shit. I was doing triplet shit. That’s why I got a right to say what I’m saying because all of these niggas that rhyme today understand who I am. It’s the public that doesn’t know. I’ve been featured on and I’ve produced platinum songs. I influenced these
motherfuckers, the ones people say is Top 5 of all-time.Big Daddy Kane changed his whole style when he heard my shit. He tried to capitalize off my shit and it was the end of his career because he doing something outside of himself like an ass. He made an ass of himself. That’s when he started doing that shit with Patti Labelle and shit and nobody knew what the fuck he was doing. People who knew said he was trying to sound like Jaz, the people that didn’t know said he
sounded stupid. No disrespect to Kane, I got a lot of love for the nigga, but the truth is the truth. If niggas can’t handle the truth at this stage, then fuck them. I ain’t hear to make nobody happy. I’m not here to please niggas. The game owes me something, and that’s why I got the right to say what I want to say.I’m the reason why these goons got security jobs out here. I’m the reason for slang out here, like “cheese” and “cheddar.” These niggas used to copy my shit all the time. Jay copied my shit “one thousand, two thousand, three thousand, four,” he copied that in 2002. I’m the original nigga to come out of Marcy and I put Marcy on the map. Without selling millions of records, I put Marcy on the map. I put Marcy on the map. There was no Marcy to the music industry until I came out.
What gives me the right to say what I say is because I’m the original nigga to put a black panther on the album and LL bit and came behind me with the shit, and had the nerve to do a song “I’m Bad” where he used the same Courageous Cat and Minute Mouse bassline, which is the same bassline I used on “HP Gets Busy.” That’s what gives me a right to say this. They knew I was at a label that wouldn’t push me, and they were at Def Jam and Warner. The ones at EMI with good intentions didn’t have the power to bring it over. I’m the originator of the triplet style. I’m the first nigga to put an animal on my album cover. Before that, the only other big artist to do that was Janet Jackson. That’s what gives me the right to say what I say.
I had the biggest album budget ever in 1987-88. I had $275,000, which was three times more than what the highest advance that rap artists were getting at the time. The top niggas were getting $75,000. I saw Monie Love recently, and Monie Love was featured on my first album. I saw her a few months ago, and she was like, “I still be telling niggas about that apartment you had in London.” I did shit in Hip Hop that niggas weren’t even approaching at the time. Niggas talking all that ballin’ shit. My first album, we had big jewelry on. The record company didn’t buy that shit and we didn’t get that with the advance. We had that shit. That’s not really important, but I was just trying to look good.
Some of the kids know and it’s refreshing. I’ll go to Brooklyn and see a lot of kids that did their research, or their parents told them that if you fuck with the nigga Jay you’ve got to fuck with Jaz because he groomed him.
I always say that Jay always had talent. The nigga was nice when I met him but he had raw talent. He didn’t know how to make a song and I taught him poetic license. I taught him cadence and clarity, and these are the things that set him apart from these other niggas today. For a lot of years, I didn’t like to toot my own horn, but “beep beep.” Who else is going to do it if I don’t do it. Motherfuckers got to know. I would like them to know, so I go about it this way. That’s what I am. You ask any major rapper from Jadakiss to Ludacris, from Outkast to anybody that’s big that you could name, LL, all these niggas, they know who I am. In the rhyme ciphers, nobody would confront this dude. I was nicer than everybody, and that’s the truth. I hate to talk like this now, but I have to talk like this now because these niggas is cheating me out of what’s mine and I don’t have any other options. I can either talk this way or act like a Negro, go out and be on some bullshit. I’ll let anybody know, anybody want a dispute, old nigga or new nigga, come with your best. I’m 41 years-old. Name one more 41 year-old that’s spitting like me. Even Melle Mel turned it down.
There’s only a few other niggas out there that are doing it. There’s Whipper Whip from the Fantastic 5 and Grandmaster Caz, the man who made me take rap seriously. I hope I can be in that same vein…maintain my weight, stay in shape, don’t get all droopy in the face, and still be able to spit a 16. I love this shit. The niggas that love the shit stay in the game. They never stop pushing. Even if I have to work in a day-care center or A&P, you do the shit because you love this. I can’t work for nobody though. You can ask Caz and Whipper Whip and anyone from uptown, I was a young nigga in Brooklyn and word spread. “Who’s that young nigga in Brooklyn that nobody can fuck with?”
One day I was telling Caz, “you’re the reason I took rhyming seriously.” And he was like, “shit nigga, we were all talking about who’s this kid from Brooklyn that nobody can fuck with?” To me, when Grandmaster Caz said that shit, I was like, “I’ll accept that one.” To me, he’s the greatest that ever did it. And they still owe him for “Rapper’s Delight.” A lot of people got away with that shit back then. Niggas were getting away with samples and all that.
. . . you lack the minerals . . . my life revolves around the spherical orbit of earth . . . no dessert until you finish your vegetables . . .
