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MIAMI GOLD: Rick Ross Does It Again With TRILLA!
2nd CONSECUTIVE #1 SOUNDSCAN DEBUT, AND 2nd CONSECUTIVE RIAA GOLD ALBUM FOR SLIP N’ SLIDE/DEF JAM FOLLOWS #1 RIAA GOLD MAJOR LABEL DEBUT OF 2006, PORT OF MIAMI
“The Boss” featuring T-Pain bullets inside Top 5 on Urban radio charts – second single is on the way, “Here I Am” featuring Nelly and Avery Storm
April 14, 2008 – New York, NY) TRILLA, the second consecutive major label album by Slip N’ Slide/Def Jam recording artist Rick Ross to enter the Soundscan chart at #1 (with first week sales of more than 198,000 units), slams past the 500,000 U.S. sales mark in exactly 30 days – to become his second consecutive album certified RIAA gold. TRILLA, in stores March 11th, follows the success of Port Of Miami, Rick’s RIAA gold Slip N' Slide/IDJ debut album, which entered at #1 in August 2006, with first week sales of 187,000 units.
TRILLA’s success is powered by Rick’s current single, “The Boss,” featuring T-Pain, which breaks inside the Top 5 this week on both the R&R/BDS and Mediabase Urban charts; and also breaks inside the Top 15 on both the R&R/BDS and Mediabase Rhythmic charts. The song’s Hot 100 Airplay audience continues to build, now over 42 million with 5,600-plus spins.
“The Boss” was produced by Jonathan Rotem, L.A.-based hitmaker for Sean Kingston, the Game, Snoop Dogg, Jennifer Lopez, Chamillionare, and others. The upcoming second single pick from the album is “Here I Am” featuring Nelly and Avery Storm, one of two tracks produced by Drumma Boy (along with “Money Make Me Cum” featuring Ebony Love). They are just a few of the guest producers and artists who contributed to TRILLA. Four of the tracks – the album’s opening “Trilla Intro”; “Maybach Music” featuring Jay-Z; “Luxury Tax” featuring Lil Wayne, Trick Daddy, and Young Jeezy; and “Billionaire” – were produced by the Tampa-based J.U.S.T.I.C.E. League, who won this year’s Best R&B Album Grammy for Mary J. Blige’s The Breakthrough (named Billboard’s 2007 R&B/Hip-Hop Album Of the Year).
More: Def Jam South and Cash Money producer Mannie Fresh is featured on “All I Have In This World (Japanese Denim),” which he produced. Other guest producers include: Bink! (“We Shinin’”); Elvis (“This Is The Life” featuring Trey Songz); DJ Toomp (“This Me”); Carlos & Dada (“Reppin’ My City” featuring Triple C’s & Brisco); and DJ Nasty (“I’m Only Human” featuring Rodney). TRILLA’s previous single, “Speedin’” featuring R. Kelly, was produced by the Runners.
TRILLA got off to a big start on the heels of an aggressive street marketing campaign and a release week performance on ABC’s Jimmy Kimmel Live. Online, Rick’s personal “TrillaWorld” blog is in its third month of operation. His http://www.myspace.com/rickross website shows more than 15.7 million profile views, and over 371,000 friends, with an amazing 23.9 million total plays. “The Boss” video is in rotation on MTV, MTV2, and MTV hits, along with BET and FUSE (with 4.5 million total audience). Recent airings included mtvU’s Spring Break and BET’s Spring Bling.
Rick Ross rose from ruling the underground rap scene in Miami, to becoming 2006’s buzz-worthiest hip-hop artist with his #1 Pop/#1 R&B/#1 Rap major label debut album Port Of Miami. Its unstoppable single “Hustlin’” became the first mastertone ever certified platinum by the RIAA for sales of 1 million copies before the associated album had even been released. A remix was subsequently issued, featuring Jay-Z and Young Jeezy. The second single from Port Of Miami was “Push It,” whose movie soundtrack excerpts (circa 1990) from Giorgio Moroder’s “Scarface (Push It To The Limit),” evoked the gritty soul of a city that is always on the edge of exploding.
Six-foot-two, 300-pound Rick Ross – who was signed to Miami-based Slip N’ Slide records by CEO Ted Lucas in 2001 – has now come into his own. A “hip-hop heavyweight,” is how the New York Times described him. “The number one ghostwriter in the South,” is how he described himself and his work behind the scenes for all those years. “I’m bridging the gap between the South and the East Coast,” he told Rolling Stone. “The sound is real Dirty South. But I’m spittin’ hard, to where the East Coast appreciates it.” TRILLA underscores the promise of one of today’s premiere hip-hop voices.

The Roots Get Political On New Album RISING DOWN!
THE ROOTS GET POLITICAL ON RISING DOWN; FOLLOW-UP TO CRITICALLY ACCLAIMED GAME THEORY SET FOR APRIL 29TH RELEASE ON DEF JAM RECORDINGS LEAD TRACKS “75 BARS” & “GET BUSY” HEATING UP THE BLOGS AS BAND PREPARES TO DROP FIRST SINGLE ‘BIRTHDAY GIRL” FEAT. PATRICK STUMP
NEW YORK, NY (March 18, 2008) - Grammy award winning hip-hop trailblazers The Roots are set to release Rising Down on April 29th via Def Jam Recordings. Known for their prolific lyrics and live instrumentation, the Legendary Philadelphia crew is composed of Tariq “Black Thought” Trotter (vocals), Ahmir “?uestlove” Thompson (drums), Kamal Gray (keyboards), Frank Knuckles (percussion), Kirk “Captain Kirk” Douglas (guitar) and Owen Biddle (bass). Garnering critical praise throughout their career, The Roots have firmly established themselves as a band with uncompromised artistic control and integrity. With Rising Down, the band’s 10th album release, The Roots continue to take bolder steps adding new depths and range to their repertoire.
The Roots co-founder ?uestlove states, “This is probably our most political album to date dealing with addiction, nihilism, hypocritical double standards in the prison system and overall life in Philadelphia. I'd say it’s more mature and intense than all of our efforts but not a ‘downer’ as most people expect us to do.”
The political nature of Rising Down is not only heard within the music. The title comes from William T. Vollmann’s treatise on violence entitled Rising Up and Rising Down, and the release date falls on the 16th anniversary of the Los Angeles riots sparked by the acquittal of the police officers accused of beating Rodney King.
Standout tracks include: “Criminal” a reflection of life on the streets and unjust persecution, “I Will Not Apologize” a tribute to Fela Kuti that discusses keeping dignity in the music biz and “I Can’t Help It” a look at addictions and urges that compel us all. The pop-infused first single- “Birthday Girl”- features Fall Out Boy frontman Patrick Stump. Additional guests on the album include Common, Mos Def, Talib Kweli, Saigon, Dice Raw, Wale, Chrisette Michele and more (see track listing below). Director Rik Cordero recently shot a video for the track “75 Bars (Black’s Reconstruction)” in New York City. The hard-hitting track, recorded in one take, features Black Thought rapping 75 bars straight. Check out the video Here. A video for “Get Busy” was also shot by Cordero and finds The Roots taking over an office space. The song revisits golden-era, East Coast hip-hop with the return of the boom-bap and synths to add the modern edge.

JD & Island Def Jam Connect With Tag Body Spray For New Label !!
Hip-Hop producer Jermaine Dupri and Island Def Jam have just opened up a new record label, TAG Records, which is a joint venture with Tag Body Spray. Dupri, who will act as president of the New York-based business, will set the creative vision for the label and play an integral part in identifying and developing its musical talent.
It's said that this will be a huge milestone for the music industry as artists will be supported with a multi-million dollar marketing effort that is unprecedented for any new artist, including television, print, radio, digital and event marketing.
"Today, we make history in the music industry with TAG Records," said Jermaine Dupri, president of TAG Records. "This label is going to provide new artists with a chance of a lifetime. New artists will receive ten times the typical marketing support - a first in the industry. I'm hand selecting and molding these artists to make history in hip hop."
TAG Record's first artist will be officially announced in May. The artist will be given a unique opportunity to merge their music with personal brand marketing.
In addition to an album release, the TAG Brand will showcase TAG Record's artist and Jermaine Dupri across various TAG brand advertising and marketing initiatives throughout 2008.

Kanye West: AllHipHop.com Graduation Album Review
Published Tuesday, September 04, 2007 By Latifah Muhammad ** Courtesy of AllHipHop.com **
Black robes. Tassles. Commencement? Not in the world of Kanye West. Replace that robe with an under-sized Starter jacket, polo shirt, and over-sized shades and you've stepped into his Graduation (Roc-A-Fella/ Def Jam). On this the third album from the Louis Vuitton Don you might just flip out with excitement over both familiar Ye beats laced with old-school samples, swift rap features and fluid lyrical delivery. But Graduation ups the antee on more than a few tracks destined to become classics.
Well at least by today's standards. Doing it by "any jeans necessary" the intro sways ever so swiftly into "Champion's" elevated tempo beat. Yes its egotistic as heard in the hook's sample lift ("Did you realize that you were a champion in their eyes?") but the flow is serious ("Lauryn Hill said her heart was in Zion. I wish her heart still was in rhyming"). For the alternative electronica starved listener "Stronger" hits the spot with every verse. In good company are a few other cross-genre tracks such as "I Wonder" which discourages other drum beats from competing while Ye gets his emo-rock delivery on.
However, just like any audience member in a graduation, there will be parts that make you want to speed up the ceremony. Among them, "Good Life" featuring T-Pain whose synthesized voice should automatically give Roger Troutman and Zapp royalties off g.p., Unfortunately the track shows that striking when the iron is hot doesn't always make for a hit song. Thankfully redemption is right around the corner on "Barry Bond's" featuring Lil' Wayne. Though it is up for debate whether Ye completely kills Wayne's bars, consistency is everything in the rap game and thankfully he came to play. Just overlook the cliché title and meaning (duh, a "hit") so you can take a good listen.
Kanye's ferocity is not only in taking fashion to another level but in his highly potent talent with the pen. Think of Kanye West as a would be Hip-Hop Superman who trades tights for fly sneakers. He takes risks that always work because of the sincerity in his undiluted esteem. Graduation represents that to the "T". Very few artist can put together an album in which they stand out more than every guest appearance and so you can't help but root for him because he always seems to come out on top.
Although certain tracks leave you scratching your head instead of bobbing it you gotta' have faith—he knows what he's doing. The symphonic beat of "Drunk and Hot Girls" is a good example of his power. Yes you will jump at the anticipation of Mos Def being featured on the track yet the fact that he's traded in singing for rapping might just leave you a little disappointed. Still the almost silly premise works.
Ever the storyteller, the album's closer "Big Brother" is a layered ride through Kanye's rise to the top. Over the DJ Toomp provided, emotional ride Mr. West is candidly sentimental in paying respect to Jay-Z for his help as both a big brother figure and label executive. Has the student become the teacher? Maybe, but he is humble enough to give thanks.
Only Kanye West could make an album like this. Proclaim himself as a classic artist and tie in each record title to the growth and elevation that most experience while in college. There has been a lot of talk about who he may out-sell, but where's the talk about who he is out-rhyming? Cocky is what he may be but Graduation not only proves that he's well within reason, but challenges all that want to step to him to step their game up or flunk out.
Fabolous: Ain't Going Nowhere
Courtesy of Hip-Hop DX May 7th, 2007 | Author: Kevin Clark
Fabolous is… well, fabulous. His rise from underground street legend to a mainstay on the pop charts was something out of an urban fairy tale. After dropping [mixtape], the Brooklyn MC got the call to hit up the big leagues. His career stats are somewhat impressive: Two Platinum plaques and a Gold one.
Now, the man who's had street dreams is getting ready to tell the world how he went From Nothin' To Somethin'. After getting pushed back, the album is set to drop on June 12th. F-a-b-o talks with HHDX about Def Jam's promotion, rap music coming under fire and why he doesn't respect Oprah Winfrey.
HHDX: Your career started at Elektra and Atlantic Records via the Desert Storm imprint and now you're at Def Jam. What has been a significant change from then to now?
Fabolous: It mainly had to be about just learning the business. I learned through the experience of the game. That's the different of me then and me now. When you have your first album out, you're just excited to be out there; to show the world who you are. Elektra helped me get that music out and I'll forever appreciate that. But throughout the time that you're in the game, you start to learn different things and I took in more and more of it as time went on.
HHDX: Other artists like Redman, Method Man and N.O.R.E., just to name a few, said that Def Jam doesn't promote all their acts. Are you worried that your newest album isn't going to get that push?
Fabolous: I mean… I'm not worried about that. I don't know what the situation is with Red and Meth, but they're in a different situation than I am. Hell, Red just came out with a video ["Put It Down"]. I've already shot two videos. On my end, I can't really wait; if your label is really doing the promotion, you still have to do what you have to do to get the people aware.
HHDX: The "Diamonds…" single is a catchy track, but originally featured Lil' Wayne. Why was there a change from that to Young Jeezy?
Fabolous: We had done the Lil' Wayne version and a Young Jeezy version. On the song, the sample came from Jeezy, so I felt that he made a good fit for the song and Lil' Wayne could've been good for the remix. He's [Wayne] been on a lot of records. So, we were in the process of putting that all together, but then the song ended up being leaked. So, since that one had got out first, we finished the video and put the Jeezy out.
HHDX: You also have a feature with Ne-Yo on a song called, "Make Me Better." How did this song come together?
Fabolous: Really, that song came together… I thought it would've been dope to collaborate with Ne-Yo. When it came to me, I heard the record and I thought that it was a crazy record. They brought the beat to me, Ne-Yo hopped on and laid his vocals down and it was a wrap from there.
HHDX: Is there a video planned for the song?
Fabolous: We're going to start shooting that really soon. But I don't really want to speak on it because it's too early.
HHDX: Hip-Hop has always been under fire in some sense, but now after this Imus debacle the heat has been turned up. With low sales impacting the game – do you see any significant changes coming out of this?
Fabolous: You have to watch what you're saying. That whole situation makes it so that you have to pay attention to your surroundings. A lot of people aren't paying attention until you say something negative. People always think that their views can be expressed easily, but you have to watch your independent opinions. There are a lot of people who may be offended in the process. So, you can't say everything that comes out of your mouth and expect it to fly.
HHDX: As an artist who uses some touchy language in your tracks – did you get a chance to check out the two-part townhall discussion about hip-hop on Oprah?
Fabolous: No, I didn't see it. I don't really respect what she does. I'm not an Oprah watcher. I understand that she has her opinion, but she doesn't speak for a lot of people that she thinks she speaks for. She does some great things for people and Black people, in general, but her perspective that she goes on isn't cool. Whatever her judgment of hip-hop is is just that, her opinion.
HHDX: Being that the culture is bred from the streets – can you change or redirect someone's voice if there is freedom of speech?
Fabolous: You definitely have freedom of speech, but you just have to be mindful of what people say. You have to motivate or create intelligent discussion. Your words are powerful, especially when you're in the public eye. You have to be mindful of what people are saying. Hip-hop artists have to be, as well. At the end of the day, it's all about opinion
HHDX: With a new album on the way and a healthy push from Def Jam – what's next for Fabolous?
Fabolous: Definitely, my focus is on the music. I have a clothing line called Rich Young that I'm trying to push and take it forward. Those have been my vocal points of the year. I haven't really been attached to the music in two years. Everyone respects the music, so that is my main focus. You can buy the clothes online at http://www.richyoungsociety.com. It'll tell you where to purchase it around the country. We're just signing our joint venture with a well-known clothing distributor. The company is going to help manufacture and take the line to more doors and boutiques. Our demand has gotten bigger than our supply. So, we'll be able to push it out to a bigger market
Def Jam College, WE GETS BUSY !!!!!

YOUNG JEEZY READIES RELEASE OF GROUP ALBUM; U.S.D.A. FEATURES PROTEGES SLICK PULLA & BLOOD RAW
JEEZY SET TO HEADLINE 7-WEEK "STREET DREAM" TOUR IN SUPPORT OF PLATINUM 2ND DEF JAM ALBUM, THE INSPIRATION; JOINED BY JIM JONES, BABY, LIL' WAYNE, AND FAT JOE
"Go Getta," new single storms all radio formats, as video goes into Elite 8 on MTV2 - follow-up to Top 15 hit "I Luv It"
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As Young Jeezy's "Go Getta" (featuring R. Kelly) bullets its way up the pop, Urban, and Rhythmic charts this week - inside the Top 40 on the Billboard Hot 100 Airplay list with a 32 million-plus audience - the time has arrived for the Def Jam Recording artist to launch the first release from his Corporate Thugz Entertainment co-venture. Jeezy's group USDA - United Streets D-Boys of America, comprised of ATL spitter Slick Pulla, Panama City's Blood Raw and the Snowman himself - is set to release its as-yet-untitled major label debut early this spring. The album's first single, "Check," is being released to radio this week.
Gearing up for the release of the USDA album, and in support of the platinum-certified The Inspiration, Jeezy is now set to headline his first major national tour.
"I am the Street Dream," proclaimed the Atlanta Snowman's 2006 mix-tape, and now he hits the road on the 2007 "Street Dream Tour," with Jim Jones, Baby, Lil' Wayne, and Fat Joe (on various dates). The tour opens on Saturday night, March 3rd at the Cricket Arena in Charlotte, and wraps up seven weeks later on April 29th in Los Angeles.
After delivering one of 2005's biggest debut albums, the RIAA platinum #1 Let's Get It: Thug Motivation 101, Corporate Thugz/Def Jam Recording artist - and Billboard R&B/Hip-Hop Awards Best New R&B/Hip-Hop Artist - Young Jeezy returned to the fast track with THE INSPIRATION, which arrived in stores on December 12th. The first single, "I Luv It," jumped inside the Top 15 across-the-board on the Hot 100, R&B/Hip-hop, and Digital Songs charts, and lit up the Hot Rap Tracks at #7.
The "I Luv It" video, directed by Jessy Terrero, debuted on BET with an 'Access Granted' special back in November. The video for "Go Getta" made it to 'Access Granted' last Wednesday, and was dubbed 106 & Park's 'New Joint' two days later. Young Jeezy hosts BET's 'Top 25 countdown' on Saturday, February 17th. On top of that, it was announced that the "Go Getta" video has moved into Elite 8 Rotation on MTV2.
Jeezy was a huge presence on BET's inaugural Hip-Hop Awards in November, where he performed a show-topping three times - on the opener, "Welcome To Atlanta," his own performance of "I Luv It," and joining fellow Atlantan and label mate Ludacris on "Grew Up A Screw Up" from Luda's platinum Disturbing Tha Peace album Release Therapy. The week before THE INSPIRATION was released in December, Jeezy gave the first live network performance of "I Luv It" at the televised Billboard Music Awards, where he also reprised his guest appearance on Luda's "Grew Up A Screw Up."
Jeezy heated up the streets as well, when he and DJ Drama dropped the latest install ment of the Gangsta Grillz mixtape series on November 14th. I AM THE STREET DREAM brought Jeezy back to where his legend was born: The Trap. It was the massive popularity and major-label sales of mixtapes like '04's Trap Or Die that brought Jeezy to national attention.
Working in Atlanta's legendary Patchwerk Studios, Jeezy welcomed a who's who of close friends and collaborators to the recording sessions for THE INSPIRATION, including (among others) Ludacris, Snoop Dogg, R. Kelly, Keyshia Cole, Three 6 Mafia, Timbaland, T.I. and G-Unit's Young Buck. With monster production from DJ Toomp (on the smash single "I Luv It"), Timbaland on "3am," the Runnerz and more, Jeezy's still got both feet firmly in the Trap, but shows incredible growth as an artist. On the sweeping, epic "Child Of God (Bury Me A G)," Jeezy envisions his own death and judgment. "Child Of God" has been shot as a 'mini-movie' long-format video and will be included as bonus content on the upcoming limited edition of THE INSPIRATION.

CHICAGO, IL (01.22.07) -- Kanye West is hard at work on his next album, "Graduation," tentatively due in late 2007 via Def Jam.
The artist tells Billboard the likely first single from the album will be "Homecoming" featuring Coldplay's Chris Martin, who recently guested on a track from Jay-Z's comeback album, "Kingdom Come."
One collaborator from West's 2005 album "Late Registration" who will be returning for "Graduation" is multi-instrumentalist Jon Brion. "We'll be working together again on the new project," West promises.
"Jon wasn't just a producer -- he was such a good friend and a great person to bounce ideas off of in the studio. It was the whole experience." West has also been busy behind the boards, having recently produced tracks for Nas' "Hip-Hop Is Dead" and the Game's "Doctor's Advocate." And, as previously reported, the artist will soon be featured in an HBO series "loosely based" on his life. "Curb Your Enthusiasm" mastermind Larry Charles will executive produce.

"LIKE THIS", FIRST SINGLE PICK, FEATURES KANYE WEST & FABOLOUS, NEWEST ADDITION TO MIGHTY DEF JAM ROSTER

Top-ranking guest list on Part 3 includes Juelz Santana, the Game, Mobb Deep, Beanie Sigel, Snoop Dogg, Young Jeezy, Lil Wayne, Rick Ross, Jadakiss, Mike Jones and Paul Wall, Fat Joe, M.O.P., and others!

New York, NY - After a way-too-long six year break between official album releases on the Roc-A-Fella/Def Jam label, mixtape impresario and Desert Storm mogul DJ Clue returns on December 19th with the arrival of THE PROFESSIONAL, Part 3, the long-awaited sequel to the all-star-studded The Professional, Pt. 2 (released February 2001).
If it were possible to outdo the guest-list on Pt. 2, then THE PROFESSIONAL, Part 3 has done it with the Who's Who of hip-hop's A-list, starting with "Like This." The album's first single pick, co-written and produced by fellow Def Jam artist Kanye West, features Kanye and Fabolous, the newest Def Jam mega-signing. Brooklyn-born Fabolous has been the core artist on DJ Clue's Desert Storm imprint for his two albums in 2003 (the RIAA platinum Street Dreams) and 2004 (Real Talk, certified gold). His upcoming Def Jam album debut, From Nothing To Something, will drop in early 2007.
DJ Clue exercises his craft as a producer on a hefty six tracks of Part 3, starting with "Middle Figure U" featuring Cam'ron and Juelz Santana, then "It Was All Good A Week Ago" (Part 1 featuring Mario Winans and Part 2 featuring the Game and Mario), followed by "I Really Wanna Know You" featuring Jagged Edge and Fabolous; "The Gold" featuring Mobb Deep; "Liberty Bell" featuring Beanie Sigel and Cassidy; and the album's closing track, "Da Animal" featuring Styles P.
And the guest list doesn't stop there; that's just the beginning. There's Snoop Dogg on "Almost F****d" (produced by Lt Hutton); Young Jeezy and Juelz Santana on "F**k Off" (produced by Develop); Lil Wayne, Ransom, and Rick Ross on "Da Scene" (produced by Doughboyz); Jadakiss on "Ugly" (produced by Swizz Beatz); Mike Jones and Paul Wall on "Grill & Woman" (produced by Chops); Fat Joe and Remy Ma on "U Don't Wanna" (produced By Baby Paul); and M.O.P. on "NY Giant" (produced by the Heat Makerz).
It was nearly a decade ago that Jamaica, Queens, NYC native DJ Clue (Ernesto Shaw) made the transition from the burgeoning mixtape industry to the major label domain of Def Jam Recordings with his first over-the-counter release, The Professional (1997). His parallel career as a New York vj and dj - first on MTV's "Direct Effect," then on radio station Hot 97, and later on Power 105 combined with his imaginative remixing skills gained him access to the hottest new tracks from hip-hop and pop's most important names.
The Professional (which hit Number 3 on the R&B charts) spun off a pair of Top 40 tracks, "It's On" and "Ruff Ryders Anthem," and was eventually certified RIAA platinum. DJ Clue Presents: Backstage: A Hard Knock Life (released in 2000) documented the touring that accompanied his pal Jay-Z's multi-platinum album. The Professional, Part 2 was first released in December 2000, propelled by the hit single "Back 2 Life 2001," featuring Mary J. Blige and Jadakiss. The album also featured new exclusive music from hip-hop notables Jay-Z, Eminem, DMX, Snoop, Foxy Brown, Method Man, Lil Kim, Busta Rhymes, Miami natives Trick Daddy and Trina, and many others.

Roc-A-Fella rapper Freeway is hard at work on his upcoming album "Free At Last," co-executive produced by longtime friend and Def Jam CEO Jay-Z and G-Unit President 50 Cent. The album is slated to drop July 25 and features guest appearances by several Roc-A-Fella and G-Unit members, including 50 Cent, Young Buck and State Property.

FABOLOUS TO RELEASE DEF JAM DEBUT; NEW ALBUM, FROM NOTHIN' TO SOMETHIN', IN STORES MARCH 27th
Brooklyn-born rapper Fabolous, the newest mega-signing to the Def Jam Recordings artist roster, will release his long-awaited new fourth album, FROM NOTHIN' TO SOMETHIN', on March 27th. The album, featuring special guest appearances from fellow Def Jam artist Ne-Yo with producer Timbaland (on "Make Me Better"), Steve Morales (on "Diamonds"), and Jazzy Pha, will arrive in stores via DJ Clue?'s Desert Storm. Fabolous, who the New York Times recently touted as "slick and underrated," is currently heating up the airwaves alongside Young Jeezy on the blazing "Diamonds," the first single from From Nothin' To Somethin'.
"The album is called FROM NOTHIN' TO SOMETHIN'," Fabolous recently told MTV News. "That's the movement we going with, man. It's a new year, everybody's on their hustle. For everybody that's trying to turn nothing into something, we're trying to make motivational music for them."
Starting in 2001, Bed-Stuy's Fabolous (John Jackson) was featured on a number of singles and album tracks, most notably Lil' Mo's Top 10 crossover hit "Superwoman." Fab's singles chart debut happened that summer with his career-defining "Can't Deny It," featur ing Nate Dogg, on Desert Storm (via Elektra's East-West division). It was followed by the second solid pop/R&B/rap crossover "Young'n (Holla Back)," both from the nearly self-titled debut album Ghetto Fabolous (one of history's fateful albums to be released Sept. 11, 2001), which reached #2 R&B and #4 pop, and was certified RIAA platinum.
In early-2002, the Barbershop movie soundtrack album spun off a new Top 20 hit by Fabolous, "Trade It All" (featuring P. Diddy and Jagged Edge). The track was later added as a bonus track on Street Dreams, Fab's second Desert Storm album, released March 2003. The platinum album also contained the massive Top 5 hits "Can't Let You Go" (featuring Lil' Mo and Desert Storm's Mike Shorey) and "Into You" (featuring Tamia). The subsequent mixtape released in November, More Street Dreams Pt. 2, climbed to Top 10 R&B and Top 30 pop.
It has been more than two years now since the release of Real Talk in November 2004, the third album by Fabolous on Desert Storm (this time via Atlantic). The album rose to #2 on the R&B and rap charts and #6 on the pop side on the strength of its breakout first single, "Breathe," which crossed from #2 rap and #4 R&B to Top 10 pop. FROM NOTHIN' TO SOMETHIN' marks the first new album released by Fabolous in more than two years.
We all have been witnesses to the fact that Juelz Santana possesses the Midas touch when it comes to making hits. And it is not just the spellbinding club bangers, lyrical versatility and superstar look, the youngest member of the Diplomatic Set has given us strong reasons to justify that he is, indeed, one of the elements that the game’s been missing. Dressed in designer jeans armored with a platinum chain hanging on the side, a crisp all-over hoodie, and a flawless combination of rubies & diamonds, he exudes an impression of both Hip-Hop b-boy and Rock star fresh. Juelz is currently working on his 3rd album, which is due early first quarter. He sat down with Yo! Raps to touch upon subjects such as his upcoming album with Lil Wayne; issues with Jay-Z; Dipset as a whole; and Jim Jones’ success.
Obviously, you are taking the jewelry game to another level. Let’s talk about all that ice on you neck and your hands?
I’m bringing the rubies back to the game. I like to take things from a different angle. On my neck I got the A of Diamonds. That’s for the ‘Ayh!’. You heard it first on the ‘Ballin’ remix: I’m taking rock & roll to another level with the iced out skull heads. On my hand I got the “I Can’t Feel My Head” ring, which represents for the “I Can’t Feel My Face” mixtape I did with Lil Wayne. He has one too.
Now that you bring Lil Wayne up. What’s your relationship like with him?
Lil Wayne is my dude. I dig his music. He’s one of my favourites out right now. Expect an album from us soon. “I Can’t Feel My Face”, the album. We are working on it as we speak. As a matter of fact, it’s practically done. What is slowing down the process is all the paper work. You know how complicated that can be. But regardless of anything, my album is on the works and scheduled to drop early this year. You dig?
What’s to come from a Juelz Santana / Lil Wayne album?
You will get nothing but fire on that piece. You dig? The best of Weezy and the best of Santana. Those 2 combined. It doesn’t get better than that. The joint is going to be bananas.
What about your solo album?
I’m working on it right now. Even though, the Juelz/Weezy album is in the works, Wayne and I both work fast. We are both working on our individual albums and our album together at the same time. We are not putting anything on pause. You dig? But as you know, I was born in the early 80’s, which is also known as the Reagan era. You dig? That may be what I name my solo album.
What characteristics of that era call your attention the most?
That time period was crazy. The drugs. Things were just gangsta back then. ‘The Reagan Era’, niggas better get ready! It’s going down. My solo album is mandatory. I can’t leave y’all in a drought like that.
How is the new album going to be different from the previous ones?
It..s just growth. The first album, ‘Santana’s Town’, was very personal. It had a lot to do with family and the struggle I went through to get into the game. The second album, ‘What The Game’s Been Missing’, was more about experimenting. I did over 150 songs. I also, explained why I was what the game has been missing. This up coming album is just a growth from that; the things that I am doing now; my son; my past experiences; my plans for the future.
Let’s talk about the Diplomatic Set? How does it feel to be the youngest dude?
I don’t have a problem with that. I grew up with 3 older brothers; me being the youngest. That just made me a grow up faster because I experience a lot of shit early in life. So in being the youngest I learned how to soak up and adjust when it was appropriate to do so. And I applied that when I first got in the game with Dipset. I learned from those who had the experience and where at a better position that me. I learned how to play my position. You dig? And now I’m a boss.
Ok. So you are still part of Def Jam, even though Cam'ron isn’t. What’s the reasoning behind that?
The only reason for which I stayed at Def Jam is because I felt that I needed that organizational engine to help bring me to that next level. Think about it. At the time Cam left he was already an established artist. Everyone knew him for him. At that time my sophomore album hadn’t dropped yet. The streets new me from the work I put on the mixtapes. And the rest witnessed that my first album did fairly good. But staying at Def Jam was the smart move, because now I’m known for me and for what I do. You dig? That move was all good with the crew. I mean, we were all at Rocafella before, Jay just took over the label.
Since you mentioned Jay-Z. We all know there is a Jay-Z/ Jim Jones situation. Are you involved in any way?
There’s no situation. This game is competitive; and that is all that it is. I have no reason to go at Jay. However, if he ever gives me a reason to then I won..t hesitate. Games are usually won by playing good defense. I am not going to go at Jay for no reason. You dig? Plus, there is no need to question whose side I’m on. Dipset all day, baby. Cam may have reasons to go at him. They have history. Right now I don’t. You dig?
As far as production goes, does Dipset outsource or do you guys have inside producers that work with you?
As far as producers I get whoever. Dudes bring beats, I listen to them, pick the ones I like, put the producer’s name on it, and then I work with what I got. If you look at all my albums, I never had a pronounced producer. It’s not because I don’t want to work with them, it’s that these young dudes are more hungry. And I’m not trying to have a dude chop half of my budget for a single song. You dig? A producer and a beat don’t make a song. And I want my name to weigh as much as the producer’s name. I don’t want to be a nigga that buys a beat from a well-known producer to be able to get it popping. I don’t want to be perceived as that. I make my own producers hot, like I did with Heatmakers.
You have directed some of your videos in the past. How was that experience?
It was beautiful. Ever since my ‘Mic Check’ video, I felt like I was able to do it. And that’s because I know me better than anyone else knows me. So I know what I want from that particular video or song. Jim is among the best video directors I know. I learned a lot from watching him.
Can you comment on Jim Jones’ success as a rapper?
I love that nigga. He is Baaaaaalin’! He is like a brother to me. He’s come a long way. He was the hype man when I first came into Dipset. He gradually got better and the rest is history. He is a crucial reason for Dipset’s success.
On a more personal note. How is your son doing?
My son is the best thing in my life right now. He is 3 now. He is the source of my motivation, what keeps me going with this music shit and life in general. You dig? The older he gets the more money I have to make. I have to be the best that I can be for him and for me.
Interview courtesy of YoRaps.com
MySpace: www.myspace.com/JuelzSantana
- By Johann ‘Flow’ Balbuena

November 7, 2006 – Staten Island, NY – Someone forgot to tell Ghostface Killah it’s OK to rest on your laurels. Less than 10 months after releasing the most critically acclaimed album of the year – Fishscale – Ghost is back and as strong as ever with the surprising and equally stunning sequel, More Fish. Set for a December 12 release on Def Jam Recordings, More Fish finds Ghost on a creative roll, and picks up right where Fishscale left off – with the kind of raw, uncut, uncompromising, soulful street rhymes only Tony Starks can deliver.
On Fishscale, The New York Times wrote: “When you get a new Ghostface Killah album, the only reasonable reaction is to get lost in it.” Getting lost in More Fish, what’s immediately striking is Ghost’s artistic consistency; he continues to put out great music at an alarmingly prolific rate. Tracks like the Rakim inspired “Ghost Is Back,” and the albums’ first single – the dancefloor burner “Good” – bristle with energy, Ghost’s legendary mic skills in top form. This time around, however, Ghost has a little help; the album showcases Ghost’s longtime Staten Island crew, The Theodore Unit: Trife Da God, Cappadonna, Shawn Wiggs, and Ghost’s 17-year-old son, Sun God – who’s deep, gravely flow shows brilliant promise on tracks like “Miguel Sanchez” and “God 2 God.”
Revered in beat-junkie circles for his soulful, sample-heavy soundbeds, Ghost returns to the same well of underground producers who made Fishscale an instant classic. MF Doom mans the boards on “Cartoonz” and the Hardy Boys-themed “Stones From Greece.” Madlib contributes “Untitled,” while Pete Rock lays down “Chunky.” On “Josephine,” one of the album’s standout tracks, Ghost laments life in the drug-addled projects over a deep, mid-tempo soul sample from Hi-Tek.
While many in hip-hop mourn the passing of the glory days, More Fish is another classic album from one of the genre’s true legends, and one of its greatest talents. But for Tony Starks, it feels easy – like shooting fish in a barrel.

The Method Man Returns...In the dark, womb-like sanctuary of Jimi Hendrix's Electric Lady studios in downtown Manhattan, a place that has birthed historical musical moments, its the artist known as Iron Lung, Tical, Wu Brother Number 1, Johnny Blaze, and of course, Method Man. With a trusty, half-lit blunt by his side, he is lounging in front of white grand piano, his hands sweeping the keyboards, trying to remember a tune he memorized years ago.
Maybe the idea of one of hip hop's finest and grimiest emcees tickling the ivories sounds odd, or out of place, but Mr. Mef has never been the type to fit in. His husky, guttural voice is perhaps the most distinct in the game, his flow dark and complex like the graphic novels from which he took his moniker from, and bury itself in cinematic tracks from RZA, complement the voices of R&B divas and or attack party tracks from Rocwilder. Whether he is trading verses with partner in rhyme, Redman, crowd surfing at a Wu Tang show, or stealing a scene in various television shows and films, Method Man is a true individual spirit. With his latest album, 4:21, The Day After, he is also focused on being a true artist.
Unlike some previous efforts where Meth admits his priorities were different, this new album, he says he's focusing on lyrics. After his last album, Tical O: The Prequel, he went through an especially rough time in his life, both personally and professionally, which provided him with a bulk of material. "I had a lot on my mind at the time and the second thing was, I decided to really talk about something and I had a lot to draw from and when the pen hit the paper it was like damn, remember this? And by the time I was done it was like shit, let's go." The result is his most personal and introspective work yet.
Doing the work behind the boards on 4:21, are Wu Tang mastermind and long-time collaborator, RZA as well as Scott Storch, Havoc, K1 and Eric Sermon. With Eric, we did three songs in three days," Meth says with an amazed smile, "It just comes in with ideas of top. And with RZA, shit, I'd watched him build tracks from scratch, so all I really have to do is put the pen to the paper". Eric Sermon provided the beat for Meth's first single, "Say" featuring Lauryn Hill. The track finds Meth addressing critics, fickle fans and haters for disrespecting him and his Wu Tang brethren.
"I've been venting about all this for years and [my manager] was like, 'Write about it, Eric has the perfect joint.', and, Lauryn Hill herself, she just had the raw emotion, the small things she said on the song was enough for me to push my pen and let myself be vulnerable." Meth says his ability to let himself be so open is in line with the entire concept of the album, and its title. "The national weed smoking day is 4/20, so I named my album 4/21 the day after. Because after that day, you have this moment of clarity when you're not high and you see things clearly." The Grammy-winner sighs and continues, a serious, determined look on his face. "You feel like you're not in on the joke, and everyone's laughing at you. I felt like no one was taking me seriously. I got real angry and I just starting writing." Anger proved to be a great motivator, as the Ticalion Stallion wrapped up the album in a few short months. He says the creative process has been cathartic, and though his skin hasn't gotten any thicker, he'll able to use his writing talent to inspire self-confidence.
"Yo, real talk, I'm going to keep my spirits up and not let it get things to me. You know, if you start reading your own press and feeding into it, and you start questioning yourself, like, " Am I wack?' And you have to be like, I learned to pat myself on the back, and that it's ok to pat myself on the back sometimes."

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FABOLOUS TO RELEASE DEF JAM DEBUT; NEW ALBUM, FROM NOTHIN' TO SOMETHIN', IN STORES MARCH 27th
Brooklyn-born rapper Fabolous, the newest mega-signing to the Def Jam Recordings artist roster, will release his long-awaited new fourth album, FROM NOTHIN' TO SOMETHIN', on March 27th. The album, featuring special guest appearances from fellow Def Jam artist Ne-Yo with producer Timbaland (on "Make Me Better"), Steve Morales (on "Diamonds"), and Jazzy Pha, will arrive in stores via DJ Clue?'s Desert Storm. Fabolous, who the New York Times recently touted as "slick and underrated," is currently heating up the airwaves alongside Young Jeezy on the blazing "Diamonds," the first single from From Nothin' To Somethin'.
"The album is called FROM NOTHIN' TO SOMETHIN'," Fabolous recently told MTV News. "That's the movement we going with, man. It's a new year, everybody's on their hustle. For everybody that's trying to turn nothing into something, we're trying to make motivational music for them."
Starting in 2001, Bed-Stuy's Fabolous (John Jackson) was featured on a number of singles and album tracks, most notably Lil' Mo's Top 10 crossover hit "Superwoman." Fab's singles chart debut happened that summer with his career-defining "Can't Deny It," featur ing Nate Dogg, on Desert Storm (via Elektra's East-West division). It was followed by the second solid pop/R&B/rap crossover "Young'n (Holla Back)," both from the nearly self-titled debut album Ghetto Fabolous (one of history's fateful albums to be released Sept. 11, 2001), which reached #2 R&B and #4 pop, and was certified RIAA platinum.
In early-2002, the Barbershop movie soundtrack album spun off a new Top 20 hit by Fabolous, "Trade It All" (featuring P. Diddy and Jagged Edge). The track was later added as a bonus track on Street Dreams, Fab's second Desert Storm album, released March 2003. The platinum album also contained the massive Top 5 hits "Can't Let You Go" (featuring Lil' Mo and Desert Storm's Mike Shorey) and "Into You" (featuring Tamia). The subsequent mixtape released in November, More Street Dreams Pt. 2, climbed to Top 10 R&B and Top 30 pop.
It has been more than two years now since the release of Real Talk in November 2004, the third album by Fabolous on Desert Storm (this time via Atlantic). The album rose to #2 on the R&B and rap charts and #6 on the pop side on the strength of its breakout first single, "Breathe," which crossed from #2 rap and #4 R&B to Top 10 pop. FROM NOTHIN' TO SOMETHIN' marks the first new album released by Fabolous in more than two years.

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