“Let’s look at what the value of a record label is in this day and age. We’ve already cut artist development, so you need to get your music right on your own without A&R guidance.

Promotion and marketing: Labels are good at going from 60-100, but not 0-60; artists still need to get their buzz going themselves.
Videos: Labels can provide the true budgets needed for traditional videos, but now with technology, artists can team up with great up and coming directors to create visuals for next to nothing.
Radio: Labels again are good at going from 60-100 but often look for early starts they want the artists to contribute.
Setting up distribution and monetizing: Selling/getting your records in stores is obviously important, and, to their credit, labels have gotten better in the last year at monetizing other avenues, yet still aren’t great—a good manager and team is much more crucial in this role, in my opinion.”

An extremely well-written article by DJ Skee for XXL Magazine in which he analyzes whether Drake would have been better off continuing on his independent route instead of signing to a major label. Personally, I agree with a lot of what Skee says, as with the digital revolution, it is now possible for artists  take advantage of new technology (with a little bit of creativity and connections with the right people) to make their product as professional as someone with a major-label budget. In my opinion, signing to a major label in this day and age is the right thing to do only when you have already firmly established yourself and need them to supply more capital to take you to make you a household name. I think Drake probably felt that way and also felt a certain sense of loyalty to Wayne, which might played more of a factor than anything in his decision, and I can definitely respect that, but like Skee said, he had the perfect setup to change the game. READ THE FULL ARTICLE HERE and drop your comments below.

- (Man Like)Keezy

Second installment of my man Tochi’s “Retrospective” series, in which he previously featured the legendary DJX. In this episode, Tochi lined up another Toronto legend, K-Cut of Main Source. I’ll let him tell it though:

“K-Cut is one of Canada’s most respected hip hop producers. He is a member of the legendary group Main Source and has produced classics for artists on both sides of the border, from Maestro (Conductin’ Thangs) to Madonna (Human Nature). There are too many songs to mention. In this episode, K-Cut talks about his records with Big Pun and Citizen Kane.” – Tochi

Hit the jump for some outtakes from the interview, including one in which K-Cut talks about the infamous Jay-Z line to Nas “I was the first to show you a tec on tour with Large Professor” and its authenticity. Read the rest of this entry »

My man Tochi just started a new series spotlighting Canadian legends that paved the way for shows like ours. It is actually very fitting that the first episode is with the legendary DJX and his Power Move show, which was an inspiration for all of us here at the The Real Frequency. We ended up taking over the time slot (1pm-4pm) on Saturdays at CKLN 88.1 until we moved to FLOW  93.5 several years ago.

“Canada has a hip hop legacy, but nobody talks about it! That’s about to change! “Retrospective” is a mini doc series focused on Canadian legends. In this first and very special episode, DJX highlights his legendary “Power Move” show. He reveals his ego clash with Mastermind, the artists he put on through the Power Move, significant and sometimes scary moments, and what he’s up to now – including the possibility of a debut album!”

Enjoy the episode and make sure to subscribe to Tochi’s channel. Feel free to hit him with comments, good or bad, because he’s never shy to give his haha. Another legend is up next but I’m not gonna blow up the spot just yet.

- (Man Like)Keezy

Here’s a nice little article from Lissa Monet’s blog giving some more insight into why Drake chose to sign with Young Money and why artists shouldn’t be looking to get signed as quickly as possible to the first label they can find in this digital age:

“When I first heard Aubrey was messing with Lil Wayne, I didn’t get it. I got it, but I didn’t. I saw short term, I didn’t see long term. I never thought it was the perfect fit. To me, the dynamic was completely different as far as ideologies and context of music. Even when they complimented each other on tracks from So Far Gone. I just didn’t get it.

I constantly worried about this as I read stories online about the business riffs between cash money and their former artists. But then again, what independent [or boutique] label run by a chart-topping, platinum selling rapper hasn’t had those problems? I’ve always said, successful rappers who start their own labels have to be finished with their own careers first before focusing on someone else’s.

But to hear about Drake’s deal with Young Money and how it was handled and negotiated, totally made me geek down. I remember having conversations with Drake, he would tell me stories about labels and producers approaching him and wanting him to sign on the spot. It was always some major label or a superproducer trying to get at him or fly him out to some city and i was like, ’sooooo whats the problem? why haven’t u signed ?’ I always thought his indecisiveness was lack of artist management or development, but little did I know this dude was just waiting for the right group of people to come along and show genuine interest in his career. And it doesn’t hurt that they could, with his talent, change the infrastructure of the current state of the music industry at the same time.

Here’s the breakdown of Drake’s record deal:

* Drake is signed with Aspire/Young Money/Cash Money Records and is distributed by [not signed to] Universal Music
* Drake got a $2 million advance – i think the last lucrative advance given to a rapper was Shyne’s $1million – i could be wrong.
* Drake retains the publishing rights to his songs and only pays 25% of his music sales revenues to the label as a “distribution fee” Read the rest of this entry »

True Hip-Hop Stories: Big Daddy Kane from D-Nice on Vimeo.

D-Nice continues his True Hip-Hop Stories series, this time getting Big Daddy Kane to open up about how “Ain’t No Half Steppin” came about.

- (Man Like)Keezy

My personal favourite song from “Murs For President”. Lyyyyrics!

- (Man Like)Keezy

Powerful music with a real message from R.E.U.B..

- (Man Like)Keezy

Snatched this from our peoples over at The Meaning of Dope. They got a whole Biggie week goin on over there lots of rare footage.

I Checked out Notorious this weekend and I must say it wasn’t as bad as I expected it to be, turst me I had loooow expectations. I wasn’t mad at any of the acting, some parts were skipped over like the Unsigned Hype article in the Source, which was mainly responsible for his discovery, and I don’t think you really got the sense of who some of the people around him were but hey, it’s a movie not a documentary. If you’re a fan I’d say take it in.

- Inzane.

 

 Rap City: Ghetto Concept - Ez On The Motion : Play Now | Play in Popup | Download

From the same folks that brought us this. Here’s another Rap City flashback.

We’ve had some debate as to when this record actually dropped, ‘94 or ‘95? This is just more evidence it was 1995.
Ghetto Concept! I ain’t got to tell you this is a classic, the legendary Grassroots on production, this joint was also the introduction to Infinite.

I never realized Much let cursing on air back then, never noticed it. The shot of the people in studio just sitting there is funny compared to today’s MOD frenzy.

Enjoy.

 

 Rap City 1995 - F.O.S.: Play Now | Play in Popup | Download

First off props to Dj O.S.U.M. for having this, and Fatski for forwarding this. MuchMusic’s Rap City used to be dope for spotlighting Canadian acts, no record deal or publists required, just recognizing talent. The show has gone through many phases from Micheal Williams and his sleevless shirts jheri curls to Oliver and his obvious little knowlege of the scene. It was an outlet though. Times have changed.

Lets flashback to 1995 and a crew of young MC’s out of the Fresh Arts program called Figures of Speach (F.O.S.). As far as I’m concerned these cats raised the bar for Hip Hop in this city, Saukrates, Marvel, Kardinal Offishall, Y-Look, Solitair, man the crew was deep with spitters.For more classic material check our peoples over at The Meaning of Dope, and our man O.S.U.M on YouTube.