JumpinJack AJ

RUN-DMC and A TRIBE CALLED QUEST Freestyle on Tim Westwood. This is dope. It has to be from 1990 to 1992.

I agree with Schnazz about it being a Fall/Autumn album. Sure, it can be played any time of year, but the tone and sound of many of the songs lean towards a somber, honest, simplistic vibe that fit well with that time of year. "Ain't No Place" is the ultimate song for that time of year...not to mention that's when it dropped. It was a time when New Jack Swing was fading and songs were less polished. Hip-Hop's sound was generally getting away from the mainstream feel that exploded in the late 80's. Listen to Salt-N-Pepa's Very Necessary, LL Cool J's 14 Shots To The Dome, Queen Latifah's Black Reign, MC Hammer's Funky Headhunter, MC Lyte's Ain't No Other, Heavy D + The Boyz' Blue Funk, Young MC's What's The Flavor, and Kid N' Play's songs on the House Party 3 soundtrack. Every classic Hip-Hop group at the time was taking on this formula in their style. It was a time of progression. No one was selling out, but shift from mainstream, dance, and political Hip-Hop was shifting to G-Funk and West Coast Hip-Hop. I feel the reason the album didn't do as well as the others was because everyone was so focused on Dr. Dre, Snoop Doggy Dogg, Ice Cube, and many other West coast artists at the time. You HAD to have an explicit lyrics sticker on your album and follow their formula to have huge success. It's similar to And In This Corner..., when hardcore and political Hip-Hop took attention away from JJ+FP's work. JJ+FP's promotion of the album was start and stop for this album due to The Fresh Prince of Bel-Air, Six Degrees of Separation, and Bad Boys. Jive wasn't supporting them fully anymore. It was also the first album where their formula for making albums changed. This album allowed a greater amount of outside producers to take the boards. The separation of Jazzy on the East Coast and FP on the West Coast didn't help the album. I'm not saying the album is bad in any way though. It's probably the JJ+FP album that I've listened to the most. I can see why Dance or Die, From Da South, Get Hyped , and Don't Fight The Feeling weren't included on the album. I like all of those songs, but they don't gel with the rest of the songs on the album as well. Dance or Die has that bouncy sound and creative writing approach. It sounds like a song they recorded before they knew the direction and sound of the album. While much more interesting and better executed, I feel the same about Get Hyped. I think the sound of From Da South fits in well, but lyrically I don't think it mixes well with the other songs. Don't Fight The Feeling sounds like it's not a demo, but not quite ready for an album.

2Pac Reveals Plot Against Him In Previously-Unheard Phone ConversationWe’ve got a pretty crazy news story for you, fam. A previously-unheard phone conversation between 2Pac and Sanyika Shakur (AKA Monster) has just surfaced, and it contains new information about an alleged plot against Pac. According to the man himself, the woman who accused him of rape in 1993 had connections with the people who attacked and shot him in 1994 at the Quad Recording Studio in New York (not the attack that killed him, that was in 1996). As Shakur originally accused Puff Daddy and his associates of orchestrating the attack, this is pretty big news.First, some background info. In November 1993, a woman accused Pac and his entourage of raping her in a hotel room, and took the rapper to trial on charges of first-degree sexual abuse, to which he pleaded not guilty. The day before the verdict was announced, November 30, 1994, Pac was shot five times by three men in the lobby of the Manhattan recording studio. Despite that connection (coincidental or not), the rapper initially accused Puff Daddy, The Notorious B.I.G. and their associates of putting a hit out on him.But now, in this phone conversation, Pac is clearly heard saying, “The girl that did this rape ****, she hooked up with the niggas that shot me. It was all connected; it was a big plan. I just caught it at the end, and that’s why they shot me.” With the alleged sexual assault occurring before the attack, and the attack coming hours before a judge gave Pac a shortened sentence, it definitely seems like someone was trying to get him locked up for a long time, and when they realized that was unlikely to happen, resorted to more violent methods of silencing the star. As this topic only pops up briefly in this lengthy phone conversation, we don’t get much else in the way of helpful information (or identification of the assailants’ names or motives), but the reveal of this “big plan” against 2Pac is certainly shocking coming 18 years after his death. Apart from that portion of the conversation (which is around the 12 minute mark), Pac’s phone call with Sanyika Shakur also shows how much the rapper cared about supporting communities. Revealing plans for community centers, children’s sporting events, registering voters and asking drug dealers to have the streets clean from 6 AM to 11 PM “for the kids,” it’s clear to see Pac’s investment in making the world a better place. About himself and other rappers, he says, “we got the juice, we just ain’t doing nothing with it.” Also speaking on his actions taken against a gang that executed a child, Pac was a very rare breed in the rap game. We need more artists to take up his mission to give back to communities and work with gangs to keep children safe. R.I.P. Pac. Listen to the full conversation below. http://livehiphop.org/2pac-reveals-plot-against-him-in-previously-unheard-phone-conversation/

"Lovely Daze" was from the Homebase era. Code Red era B-sides/additional tracks that were released were "Dance or Die" (from the Made In America soundtrack), From Da South (from various Boom! Shake The Room singles), Get Hyped (from various I'm Looking For The One To Be With Me singles), and Don't Fight The Feeling (released in 1998 on the Japanese version of JJ+FP's Greatest Hits).

Code Red was the first JJ+FP album I bought on CD. All the previously ones I had bought on cassette. My brother bought it on cassette, and a handful of my friends got it on CD. It was a great album and perfectly represented the time. Most of the songs timeless and don't sound dated at all. Jive was on fire and hadn't gotten into pop music yet. Even though the album didn't do overly well, they still pumped out the music videos. "Boom! Shake The Room" was the only single that got decent air play and video play, but they performed the other singles at award shows and events. I remember "Boom! Shake The Room" premiering at the end of a Fresh Prince of Bel-Air episode I also remember them promoting on MTV at the MTV Beach House. Code Red is a fan favorite for many, but He's The DJ, I'm the Rappers is definitely their best work when it comes to a full album. I'd argue that Homebase is a better album two, though its sound caters to the 1990-1992 era in Hip-Hop. I played this album regularly for YEARS since they didn't put out additional albums. I was heart broken in 1995 when I read in Rap Pages that FP was hanging up the mic. Excellent album that takes me back to an awesome time in life.

JOSS STONE - Love Me Water For Your Soul (2015)

Freaking day light saving...

Share videos, stories, and memes that you find funny or amusing. This is a feel good thread, so steer clear of topics like politics and religion.

I'm pretty that the video will amplify the song perfectly. Many people, just like some of us, are foreign to the sound and formula of the song. Sure, it's grown on most of us who initially didn't know what to think, but the visual and energy of the video will likely win over those who are on the fence about it.

I forgot about this verse as well. I prefer hearing it over the Clipse beat and with his verse alone. I think "Clique" is one of the worst songs ever and really wanna hear a hot verse next to a weak hook and over a garbage beat.

Sony, Michael Jackson Estate in Talks for Transfer of Massive CatalogTech giant will "either become 100 percent owner or divest," says one source By Steve Knopper October 9, 2015 Sony and Michael Jackson's estate are in talks for a massive transfer of the catalog to one of the parties Kevin Mazur/WireImage/GettySony ATV, the famous music-publishing catalog that Michael Jackson bought in 1985 and used for decades as a financial lifeline, will soon be sold in full to the late singer's estate — or the estate may sell its own half back to Sony Corp. The technology giant will "either become 100 percent owner or divest," a source close to the deal tells Rolling Stone, adding that Sony reps will soon meet with Jackson's estate reps to work out the terms. The company has begun what is known as a "buy-sell process," with one source saying that "this is just the first step" for the company. The catalog, which owns publishing rights for 750,000 songs, including tracks by the Beatles, Taylor Swift, the Rolling Stones, Marvin Gaye and many others, is worth an estimated $2 billion. It has been a 50-50 venture between Sony and Jackson since 1995, when the King of Pop agreed to merge his share with Sony's music-publishing catalog. In 2007, an auditor said Jackson's half of the catalog was worth $390 million — providing crucial assets for the big-spending superstar during a period when he was releasing almost no new music or making money off concert tours.Reps for Jackson's estate declined to comment. Jackson had been deeply in debt in 2006 when he agreed to give Sony an option to buy his half of the catalog at some later date. Sony exercised that option sometime last month. "The structure of a joint venture is sometimes difficult to manage," the source says. Company reps would not comment, but leaked Sony documents last year suggest execs were dubious of its potential in a time of low digital-music revenues. Kenichro Yoshida, Sony's chief financial officer, said in a statement last year that Sony ATV "has a rather complex capital and governance structure and is impacted by the market shift to streaming." The Beatles lost control of much of their publishing in the Sixties after a series of complicated business deals. When Jackson bought the catalog, for $47.5 million, Paul McCartney unsuccessfully bid against him. "The key thing to remember today is don't sell your catalogue," Marshall Gelfand, Jackson's accountant, told the Los Angeles Times at the time. "The whole explosion of music videos and the trend toward using more music in movies is going to make copyrights even more valuable. If you are an established artist today, you should only consider selling your catalogue as a last resort to raise cash." http://www.rollingstone.com/music/news/sony-michael-jackson-estate-in-talks-for-transfer-of-massive-catalog-20151009

Great interview. It solidifies the way FP's brain works when it comes to music. The thing about the article that's confusing is if the new album is a JJ+FP album (even though they haven't made any new music yet), or a solo album for Will. I'd be happy with both; just sayin.' p.s. Am I the only one that had to look up the definition of "ostensibly"?

I just saw it too. Can't wait to see the finished product.

I feel that the progress of the album during the tour will also impact. If the album is done in the next 5 months or so, there's the chance we can get a "Will Smith & Friends" project that may or may not meet our high expectations. If he's still working things while they tour, that would greatly impact the album. You can't come down on an artist for wanting to do things their way...it just sucks when they don't do things the way you'd really want. Like there's nothing more I want than a JJ+FP album, but I can't be mad if wants to make something else. Regardless, we need to back the project in hopes of not having such a large gap in between albums.

I'm sure there's some other Motown fans on this board. I love me some Tammi Terrell. Her work with Marvin Gaye is some of my favorite music of all time. I love that her story is being told. With her sister involved, it doesn't seem likely that it'll turn into one of those weak bio pics that are becoming so common.Pass The Popcorn: A Biopic Treatment Based On The Life Of Late Soul Legend Tammi Terrell Is In Development It appears that the late legend of soul music Tammi Terrell will finally have her story told on the big screen. After years of teasing and tempting, a biopic treatment of the singer’s life and legacy has apparently been granted the support from her estate and will begin production next year. The yet to be named film will be based on the book My Sister Tammie written by (you guessed it) Terrell’s sister Ludie Montgomery, who is also behind the production. Though I’m sure many of you were hoping Taraji P. Henson may finally be landing the role she was destined to play as an actress with perhaps the most uncanny physical resemblance to Terrell, a leading lady has yet to be named. For those to young to remember, Terrell was a darling of r&b, born in Philadelphia and signed by Motown in the mid-60s where she enjoyed a string of hits alongside the marvelous Marvin Gaye, many of which are considered standards today and are as cherished as anything in the American music canon. Tammi Terrell died tragically of a brain tumor at just 24 years of age, cutting short a career that in just a few years put her in league with some of the best to ever do it. We”ll certainly be keeping our eyes on the matter, so be sure to check back for updates. http://www.okayplayer.com/news/tammi-terrell-biopic-in-the-works.html

Janet Jackson Makes a Definitive Comeback with the Mellow, Consistent R&B of 'Unbreakable'A laid-back and self-aware Janet turns in one of the finest albums of her career.Winston Cook-WilsonOctober 5, 2015Janet Jackson is almost 50 years old, and with over 150 million albums sold into her 33-year recording career, is one of the best-selling female pop stars of all time. Yet she’s a freshly independent artist: After her career-long relationship with Island Records petered out following 2008’s Discipline, she’s now releasing music via her own Rhythm Nation records. Despite or because of her new situation — and doubtless the album’s lengthy and painstaking gestation period — her eleventh release, Unbreakable, is one of the most consistent of her auspicious career. Largely, it’s a laid-back album of disco and hip-hop-informed songs that blur reference points to form an out-of-time, stylistic compound that’s distinctly Jackson’s. Songs like the title track, “Shoulda Known Better,” “Night” and “No Sleeep” sound wholly modern while recalling musical threads of the past three decades. Though the album lacks some of the distinct, sexually charged aggressiveness and fearless stylistic pivoting that characterized Jackson’s groundbreaking work of the 1990s (see The Velvet Rope and the excellent janet.), the sound and dramatic posture seems commensurate with a pop star of her stature and long resume. It’s certainly not uninspired. Unbreakable is exactly the kind of record a great artist makes when they feel like they have something to say, but nothing to prove. Since the language of ‘90s R&B and ‘80s pop is fully baked into the DNA of some of the best Top 40 music of today, Unbreakable sounds largely in line with the pop music of younger artists. However, it feels like we are moving a step (or three) closer to the genuine article, reviving elements from a source text which have been lost in translation. Like Mariah Carey’s underrated Me. I Am Mariah… The Elusive Chanteuse of last year, Unbreakable feels like Janet successfully striving to take her place next to her imitators: from Ciara, to Tinashe, to Ariana Grande. Every song of the album was co-written and produced by Jackson’s legendary longtime collaborators Jimmy Jam and Terry Lewis, who helped Jackson distinguish herself as an artist in the 1980s. Jam and Lewis have clearly stayed in tune with trends, while remembering the dynamics of their old chemistry with Jackson. Unbreakable, to its benefit, lacks the more aggro clubbiness that punctuated her past three albums. Second single “BURNITUP!” gets closest to this angular, early-’00s-derived sound (think “Sexy Back”), but it is salvaged by an infectious, unusually moody chorus. More successful as a club-friendly song is the DJ Mustard-informed, trap-cymbal-studded “Dammn Baby” which puts a inspired spin on a contemporary idiom but imbues it with distinctly Jackson-esque, nimble melodicism reminiscent of the best parts of All of You, the 2001 Janet album to which Unbreakable is closest in sound. Most of the other stylistic experiments on Unbreakable — most notably the EDM-tinged “Shoulda Known Better” — are carried off expertly. Even more questionable detours — the vaguely country-flavored ballad “Well Traveled,” and the cartoonish gospel-pop of “Gon’ B Alright” — have charming moments which make them feel like more than misguided flubs. Jackson’s public reputation, very sadly, suffered unambiguously following the “wardrobe malfunction” of Super Bowl XXXVIII, which resulted in her videos and singles blacklisted at various outlets, and a steep drop-off in album sales. Following that, Janet morphed gradually into something of a side attraction: Her long-standing position at the vanguard of pop, as she was for so many years, was weakened. But the release of Unbreakable solidifies what seemed apparent after the warm reception for its first single (the loping after-hours disco of “No Sleeep,” which, though it’s just recently entered the Hot 100 in the 60s, is Janet’s longest-running No. 1 on the Adult R&B charts, and critically beloved) and her receipt of BET’s Ultimate Icon award in July: musically, Ms. Jackson is back and fully on top of her game. She’s now a legacy act, but not in the pejorative sense: She’s making her impact felt again. Unbreakable, which is projected to sell between 90 and 105k this week, is a definitive late-career triumph for Jackson, boasting strong songwriting and savvy production which is more than capable of winning her new fans. https://www.inverse.com/article/6762-janet-jackson-makes-a-definitive-comeback-with-the-mellow-consistent-r-b-of-unbreakable

Yeah, that's the main thing that has me scratching me head. Kanye West, Drake, and Calvin Harris are not on Jeff's level, and they certainly don't support classic Hip-Hop based on the music they produce. I feel like Jeff should be the first person he would go to, even if his intention is to collaborate with a few people. I actually really like what The Freshmen did. They sound was consistent, but all the songs sounded different. They aren't on Jeff's level, but they definitely deserve props. My take on it is that the 'Prince isn't trying to make a classic Hip-Hop album. He wants to experiment. He wants to do something that could somehow be accepted by radio without doing it JJ+FP style. The "Fiesta" remix is the perfect example. As an artist myself, it's hard to chastise him for wanting this and taking this approach, but the bottom line is, nobody is better than DJ Jazzy Jeff and nobody brings the best out of him like Jeff does. A DJ Jazzy Jeff + Fresh Prince album is want I want more than anything. That formula cannot be beaten. The things that's strange to me, as that while so many Hip-Hop entertainers are looked at differently in their 40's, nobody would bat an eye at JJ+FP, but a Will Smith solo project that is catered to today's radio (if that's what he's going for), could actually be a little hard to swallow.

They need to put it out soon to ride the coat tails of all the hype. I can't wait to see. The behind the scenes footage looks great.

Predictable, but good interview. For those who don't want to click the link... DJ Jazzy Jeff on possible reunion with Will Smith: 'The time is right on so many different levels'"I've been waiting for him just to say, 'Let's go,'" he tells EW. by Eric Renner Brown • @ericrennerbrown (Kevin Winter/Getty Images) Posted October 7 2015 — 11:38 AM EDT Will Smith threw the hip-hop world a curveball Monday when he told Zane Lowe on Beats 1 that he plans to hit the road with longtime collaborator DJ Jazzy Jeff next summer. Jeff, who recorded five albums with Smith from 1987 to 1993, has confirmed to EW that a reunion is a serious possibility. “The time is right on so many different levels,” the DJ said by phone Tuesday. “It’s simple as Will has been my partner for 30-something years. I’ve been waiting for him just to say, ‘Let’s go.’” Jeff attributes talk of new tunes and a tour — Smith also told Lowe that he’s “pretty much poppin’ in the studio everyday” — to conversations he’s had with the star about adapting to changes in the music industry. “I think he’s really coming to grips that so much of it is independent and you can do it on your own,” Jeff says. “Coming from a record background and as long as we made records, that’s really hard for someone to understand that it’s different now. We always talk about going into these million dollar studios and making these records that we made. [But] having the ability to make a record in a hotel room, if we’d have had that, we would have probably did 50 albums!” According to Jeff, he and Smith “perform together maybe like four or five times a year, just on different occasions” like movie release parties and Jeff’s own gigs around the world. After those appearances, Smith often remarks to Jeff that the duo should reunite in earnest — prompting Jeff to reply, “I already do it! I’m waiting for you!” While Jeff says he and Smith “haven’t started our stuff yet,” he praises his return to the studio. “The thing about Will, from the day I met him, he is never lacking in ideas and content,” Jeff says. “It’s just the execution. I’m happy that he’s executing now. With the help of his kids — who are so into just doing it — he’s kinda like, ‘You know what? We can just do it.’ The possibilities are endless because we have these resources that we didn’t have 20 years ago.” And although Smith’s schedule might be the limiting factor for a DJ Jazzy Jeff & The Fresh Prince reunion, Jeff has kept busy in his own right. The DJ says he plays more than 160 gigs a year, and he provided scratch overdubs for the summer box office smash Straight Outta Compton — an offer he initially thought was “an elaborate joke” when he received multiple texts from numbers he didn’t know that turned out to be Dr. Dre trying to contact him. The mogul eventually got through to Jeff, who says Dre told him “there’s no one that I would pick other than you” to do the DJ work in the film. “I was really honored, I was just really happy that I could help,” Jeff says. Still, the idea of being an “elder statesman” of hip-hop is still a little weird to the DJ, who tells a story of hanging out at a Hong Kong club with Dre and Snoop Dogg, where all three were performing. “Will and I still do this,” he says. “There’s a side of it that you never lose, that this is funny. ‘Can you believe this?’”

I had to go with the tour. It's tough to rank them, but until I know more about the direction of the album, the tour has me the most excited. To see JJ+FP do a show and potentially meet them excites me more than an album that might have questionable involvement from Kanye West, Drake, and Calvin Harris.

JJ+FP has always been in their own circle. They are cool with so many people, but it's hard to see them as part of one of those legendary Hip-Hop tours. That's what I'd prefer though. LL Cool J would be the perfect act to tie in with. Public Enemy would be another, but some of their lyrics might be a bit too much for the majority of the pull that JJ+FP will likely get. When the emcee in the group is also one of the biggest movie stars in the world who's TV show is still in syndication, it's going to have a very mixed audience. The Hip-Hop heads will likely be a smaller portion of the audience. Regardless of how it turns out, it'll be great. I imagine it'll be a lot like the live set they they did around Lost + Found and Hitch. You don't go on tour for the first time since the 90's and choose "I'm Looking For The One" over "Miami." I'd actually prefer that, but we gotta be realistic.

The tour is gonna be so dope, but I wouldn't expect anything crazy when it comes to the set list. They toured some with their albums from the 80's, but that's it. The 'Prince is too big for big liberties to be taken with the set list. I predict a balanced mix of JJ+FP and solo Will Smith hits, with some tiny surprises here and there. I predict a good lighting set up and a small crew of dancers. Will they tour alone, or with an opening act? I feel that FP has too much mass appeal for them to tour with old school legends. That's what I'd prefer, but, but I don't expect most of the audience members to appreciate acts like Slick Rick to take on the first set. At the same time, any new acts would be a weird mix. While FP's kids have performed, I don't know if they'd be the best fit to open. Plus they don't frequently perform. I wonder if they'll have VIP meet and greets. I normally don't purchase over priced merchandise at concerts, but if they come up with something cool, I'd totally do it. I can't wait for more information.

The JJ+FP tour is BIG NEWS. We already knew he's recorded a good bit of material for his next album and that he was selective with he's done so far. We also knew Bad Boys 3 was on its way. He's not saying too much here that should be a surprise to any big fan (on this board), but it feels so darn good hearing him say it all..lol. I like the optimism and fire in his voice as he discusses new music and how he's experimenting. While it sounds like he won't be dropping an album as soon as we'd hope, considering they just released that remix, it's good to know he's made the commitment to music. He wouldn't have elaborated they way he did if he wasn't sure it was coming. There's more confidence in this interview compared to the early ones of him working with Kanye and Drake when they first occurred. I like that this interview is full of a few of his traditional inspirational quotes in life and work ethic. It's surprising that Bad Boys 3 could come as soon as it is. I suppose they are much further in development than we expected. Even though Men In Black 3 turned out great, hopefully they won't be shooting Bad Boys 3 while the script is still being worked on. Lastly, this tour is going to be dope. I love that it's finally happening. I believe the guys are going to have an amazing time....just as much as the fans are. Their catalog is going to be revisited and rediscovered by thousands, if not millions because of this. Perhaps it'll lead to a full-on JJ+FP album. I can't wait for the dates, I'll see as many shows that are reasonably close.

CHRISTOPHER WILLIAMS - Too Late Simply Christopher (2015) http://singersroom.com/content/2015-10-05/RB-Veteran-Christopher-Williams-Drops-New-Single-Too-Late/ Another 90's legend returns. If you remember the R&B singer who was formally on Uptown Records (then Giant), you can peep the new song at the link above.

He may have cussed on other records, but other than "U Saw My Blinker," it was edited. I don't care to hear him do it. It's not that it personally bugs me much, it's that he's spent 30 years saying how truly intelligent people don't use that kind of language to express themselves. It is hypocritical. For those expecting lyrics that can be played in front of the entire family, he is a staple. He's known for that by millions. I don't want to see him throw that away, nor to a I wanna hear an album by the 'Prince that's littered with lazy, common, foul language. Look at the comments in the news articles, social media, and YouTube, there are a significant amount of people who are quoting his lyrics, his previous interview quotes, and even Eminem's line from "The Real Slim Shady."