Former DD172 artist Curren$y had launched a $1.5 million dollar lawsuit against Damon “Dame” Dash over distribution rights to his music.
Curren$sy alleges that he severed ties with Dash’s DD172 imprint in 2010. He released two critically acclaimed projects, Pilot Talk 1 and II, under Dash’s label with fellow DD172 artist/producer Ski Beatz.
Curren$y signed with Warner Bros. in January 2011 and released his debut major label debut Weekend at Burnie’s last June. Last month, Dash released his own Curren$y project Muscle Car Chronicles, composed of recordings made between 2009-2010.
Damon Dash is countering the lawsuit claiming that Curren$sy breached his an agreement with DD172 to sign with Warner Bros.
At press time, a court date has not been disclosed. Curren$y’s next project, The Stoned Immaculate, is slated for release later this year.
What a mess. I can understand Curren$y’s anger since he and Dame split on bad terms. At the same time, he probably doesn’t have any legal recourse to stop any music made while he was under an “agreement” with Dame’s DD172.
I say “agreement” because Curren$y put himself in a bad legal position as evidenced by the below quote from an interview back in 2010 with XXL.
Honestly, I don’t know outside of me how the business is run, as far as DD172, but [with] me and dude, there is no physical, no black or white, nothing on no paper. It’s just understood, nothing had to be said, so it’s been all good.That’s the same situation I tried to have anywhere I was. It’s never been no confusion, I always wanted to be on the real nigga standards: If I fuck with you, I fuck with you. So we got that understanding. I have companies, he has companies and I gave him percentages and shit. Like I got Jets International, I got this line I’m about to do with New Era and shit and he got like 10 percent of that shit. It’s just some homeboy shit. It’s crazy because it’s like I known him forever, but I haven’t. I’ve only known him for exactly how long you’ve seen me around him. But it’s just like it was understood. We both been through a zillion fuckin’ bumps and bruises in this game. At this point, it’s like fu*k that shit, we just hustlin’.
After reading that, Curren$y needs to be mad at himself. You’re dealing with a man who, whether truly his fault or not, has a history of bad breakups with business partners and artists. And yet you, as someone whose been around for years and should know the cutthroat nature of the music business, still chose to not have any written agreements AND give up percentages of your companies.
Let’s hope the Warner Bros. deal he signed last year is on much better terms.
Even though Curren$y’s upcoming Weekend at Burnies mixtape only has 10 tracks, Spitta is still hitting fans with leaks off the Warner Bros.-backed project. Curren$y has released over a dozen tapes over the last 3 years, including one (Covert Coupe) earlier this year, so the New Orleans native is due to start charging for one of them. You can pre-order a 12 track deluxe version HERE. A video for #jetsgo is also on tap to drop.
From the sound of “You See It,” this project will have a much more upbeat sound than the production Alchemist supplied Curren$y with on Covert Coupe. Weekend at Burnies drops on June 28. The tracklisting and Curren$y’s upcoming international tour dates are listed after the jump.
WEEKEND AT BURNIES
#jetsgo
Still featuring Trademark and Young
Roddy
She Don’t Want A Man
One Life
You See It
Televised featuring Fiend
(International Jones)
This Is The Life
On G’s featuring Young Roddy and
Trademark
Money Machine
What’s What
TOUR DATES
THU July 1st
Hove Festival
Adrenal, Norway
SAT July 3rd
Roskilde Festival
Roskilde, Denmark
MON July 5th
Melweg
Amsterdam, Netherlands
THU July 8th
Splash Festival
Leipzig, Germany
SAT July 10th
Openair Frauenfeld
Pferderennbahn, Switzerland
“Well life is an “unsober” experience. I would say we’re always under the influence of something…”
Since their debut in 2006, J*Davey has thrived by embracing experimentation and reinvention as their mantras. Their latest project, Evil Christian Cop, continued that tradition by showcasing everything from Nirvana remakes to searing R&B ballads. Instead of resting on their laurels, Los Angeles’ dynamic duo is using that EP is a lead-in to their long-awaited sophomore album, New Designer Drug (due out this summer). Now removed from major label constraints but enriched by the experience, J*Davey is prepared to reach the “next level” on their terms.
Beats, Boxing & Mayhem: What was the reason for the big gap between the Evil Christian Cop EP and the first Great Mistapes project?
Brook D’Leau: I think we just put it out when we thought it was ready. We don’t have a system. We only put out projects when we really feel like it’s time.
Beats, Boxing & Mayhem: The Nirvana remake is great. Did you guys have any apprehension with tackling it? You know when you remake a classic there’s heightened scrutiny.
Jack Davey: No, we don’t make music with worry. We just throw it out into the universe. When you start thinking about what you’re making it kind of deters you from making it to the best of your ability. We just covered the song because it resonated with us.
Brook: Everybody has a perspective on how they would have remade it. I think we did a great job with our own interpretation of it. It wouldn’t have made sense to do it just like the record.
Jack: That would have been awful. [laughs]
Brook: People don’t understand when you do a cover it’s not to sound specifically like the original. It sounds like J*Davey but it’s a Nirvana song.
Beats, Boxing & Mayhem: What’s your favorite Nirvana album?
Brook: I’m gonna go with Nevermind because that’s the one I’m most familiar with.
Jack: Yeah, that’s probably the best one. The EP they put out [Incesticide] was good too and Bleach. In Utereo… it was ok. I’ve become more of a Pixies fan with older age.
Beats, Boxing & Mayhem: What’s the best thing you’ve been hearing in the music of your peers?
Brook: There’s a lot of genre-meshing. That’s always exciting in making that special gumbo of things that are unexpected. I feel like I’m hearing more of that but definitely not in the commercial vein. That’s a very small percentage of all the great music that’s out there.
Beats, Boxing & Mayhem: The West Coast has been under the radar now for years. Would you say that lack of mainstream attention has creatively benefited some of the regions like L.A.?
Jack: Definitely! It’s completely all our own and not taking any influence from anybody else. It’s creating trends and people are coming. L.A., we get a bad rap all around; it’s not fashionable to like L.A. But there’s something really undeniable happening out there right now. People are going to be forced to pay attention. It’s been happening for awhile.
Beats, Boxing & Mayhem: How was the creative process working with Blu?
Jack: It was so simple and organic. It was just as simple as us having something we want to hear him on and calling each other up. It wasn’t much more complicated than that, thank God. [laughs]
Beats, Boxing & Mayhem: You guys are free agents, but what did you learn most going through and coming out of that Warner Bros. deal?
Brook: We took the chance to see if it could work on that level. The biggest lesson was understanding what we want and defining that a lot more. I find most of the people who get lost in the shuffle don’t have a clear vision of what they want. You got a lot of opinions and hands in the pot. You can forget the reason you got signed is because they’re attracted to what you having going in the first place. They don’t put any money into grooming and developing an artist. They want something that’s already happening. They’re going to throw a lot of ideas at you that really don’t benefit your music but the business of selling your music.
We had a clear vision of what we wanted to do and got to work with a lot of great people. Being in that mix helped us develop our writing and production skills along with valuable experience working with people who sell millions of records.
Beats, Boxing & Mayhem: Would it be right or wrong to assume Evil Christian Cop is indicative of what the new album will sound like?
Jack: It’ll have elements but we never release the same of anything. We always take it to the next level with each release we put out. This one will be one step further. That’s our goal; keep progressing with our sound and development.
Beats, Boxing & Mayhem: Are there going to be any special guests on the new album?
Brook: There’s actually no big features.
Jack: Nope, no special collaborations.
Beats, Boxing & Mayhem: With social networking you get immediate feedback on anything you drop. What’s the line you draw between accepting valid criticism and not letting it have a say in your creative direction?
Jack: I don’t know how you can critique anyone’s art because it’s an extension of that person. How do you critique that? It really bothers me. Either you like it or you don’t and that’s as far as you can go. If you don’t like it we can deal with that. We don’t make our music for other people. We have no choice but to make it. It makes us. We don’t trip off that stuff. We read it [and] it goes in and right out.
Brook: Only thing I think that’s great is there’s a conversation about it. One person says I love J*Davey and one person says I hate that. We’ve already done our job. That means we’re invoking some sort of emotion and opinion in people. That’s all we ever want to do, to be potent enough where when you see or hear us, there’s no way to act like you didn’t and you feel a certain way about it. [laughs]
Beats, Boxing & Mayhem: Does J*Davey make better music sober or high?
Jack: Well life is an “unsober” experience. I would say we’re always under the influence of something.
Beats, Boxing & Mayhem: What’s the biggest argument J*Davey’s had as a group and how long did it take to resolve?
Jack: I don’t think we’ve ever had a big blowup we couldn’t resolve. We don’t agree on everything, but we’re two different people and know that. We meet in the middle as much as possible.
Brook: The agreement is if we disagree it doesn’t happen. In order for us to pursue this as a duo there can’t be anything we’re divided on. So internally if we feel different, we’ll put it on the backburner until we both feel the same way about it. We’re trying to make this an easy breezy experience. There’s no way I’m going to be in a band with somebody who creates drama and we have to argue and fight about it. We’re pretty calm and understand this isn’t about us and what me or she wants.
Jack: We always keep the bigger picture in mind.
Brook: As much as this is creative, it’s still a business. That element comes in when understanding the big picture.
Beats, Boxing & Mayhem: Jack, is it true you’re afraid of matches?
Jack: [uneasily] Yeah.
Beats, Boxing & Mayhem: Being that you always have creative tracks, have you ever thought about making that phobia into a song theme?
Jack: I haven’t, probably because it freaks me out so much I don’t want to think about them. [laughs] And I know if I did someone will come up with a video idea where I’m immersed in matches and I’m just dreading that whole idea.
Beats, Boxing & Mayhem: “Raincheck” is a great song and one of my favorites off the EP. How difficult is it to balance love with the careers you have?
Brook: Not too much. I think love is what motivates us to do what we do.
Jack: Definitely. Love should never be a struggle. And if it is it’s not your career.
Brook: And if it is a struggle, I don’t know if that’s really love. I don’t look at it that way [laughs].
Jack: I would say that love and sex are our two biggest inspirations [laughs].
Keep up to date with J*DaVeY as a group and individuals with their following Twitter pages.
Three-time Grammy winner Jill Scott has confirmed a new distribution deal with Warner Bros. for her upcoming album The Light of the Sun.
Scott has previewed her new material for fans on a recent 20-city national tour with Maxwell. With the birth of her first child and a called off engagement all occurring since the release of her last album (2007′s The Real Thing: Words and Sounds Vol. 3), Scott hinted that a lot of emotional content will be present in her latest project.
“I’ve always looked to empower my fans through my message of love, independence and strength,” she explained. “A lot has gone on in my life since my last album, so I’m extremely excited to share the new music with all of the people that have supported me these past ten plus years. This album is very revealing, and I can’t wait for everyone to hear it.”
Since her critically acclaimed debut in 2000, Jill Scott has recorded for the Hidden Beach label. According to her business parter Shawn Gee, Scott’s move is based on her desire to have more control over her music and brand than allowed through standard album deals.
“As the music industry evolves, the relationship between artist, management and label is constantly changing,” said Gee, a member of the Sports & Entertainment Financial Group. “Foregoing the traditional formula and strategically creating a true partnership amongst us all, I have to commend Warner Bros. for recognizing Jill’s worldwide brand and acting on it.”
Jill Scott’s resume includes double platinum (Words and Sounds Vol. 1), platinum (Experience: Jill Scott 826+) and two gold album releases (Words and Sounds Vol. 2 and 3). Her added success in as an actress, author and poet made Scott a coveted talent for Warner Bros.
“Jill Scott is a masterful performer with a proven artistry across film, TV and music,” detailed Warner Bros. CEO Todd Moscowitz. “We are thrilled at the prospects with this partnership and eager to steward the next phase of this uber-talented artist’s career.”
At press time, The Light of Sun does not have a definitive release date. Fans will be able to hear portions of the album when Scott performs with Mary J. Blige and Kanye West as a headliner for the Essence Music Fest on July 4.
Rick Ross is promising his Warner Bros.-backed distribution deal for Maybach Music will be the start of a streak of “hit records.”
Over the weekend news leaked that Ross, who’s signed to Def Jam as an artist, was bringing his label to Warner Bros. Maybach Music currently lists Wale, Triple Cs, Meek Mill and Pill as its signed artists.
Warner Bros. has a rap stable that boasts Wiz Khalifa and Gucci Mane as its premier Hip-Hop acts. CEO and label co-president Todd Moscowitz says Ross’ entrepernuerial savvy is what caught his company’s attention.
“We are thrilled to be in business with Rick Ross. We were drawn to his hustle, Moscowitz explained. “Ross is an entrepreneur who built his company from the ground up. He’s a music magnate, a lightning rod, and an empire builder. Our partnership with him is about building a brand that endures. We back his vision all the way and are ready to give him the resources he needs to pursue that vision.”
Ross confirmed that the partnership is a long-term deal he hopes will be a portfolio cornerstone of the remainder of his career.
“This deal with Warner Bros. Records has been a long time in the making and I’m confident we’ve found the best home for Maybach Music,” Ross added. “Together we’re going to make hit records for years to come.”
At press time, Rick Ross will be joining Nicki Minaj, Lil Wayne and Travis Baker for the I Am Music II Tour, starting March 18 in Buffalo, New York. His latest video, “Ashes to Ashes,” can be viewed below.
Gucci Mane will have the musical backing of Drumma Boy and the distribution power of Warner Bros. when he releases his street album, The Return of Mr. Zone 6, on March 22.
Most mixtapes are exclusively distributed online and serve to hype official releases. This project will retain the full resources of Gucci Mane’s Warner Bros. label, and be available online and in local retail stores.
Having released dozens of mixtapes over the last few years, Gucci Mane credits the practice as a key component to his initial success. After having moved away from it recently to focus on mainstream albums, the Atlanta rapper is framing this project as a return to his roots.
“The street album is a return to the music that had me buzzin’ in the first place,” Gucci explained in a statement. “It really didn’t make any sense to not have some of the people who’ve been responsible for some of my best street records behind me.”
While the majority of the production will be handled by Drumma Boy, The Return of Mr. Zone 6 will feature beats from Southside and Zaytoven. Guest spots include Waka Flocka Flame, OJ Da Juiceman, Birdman, Wale, Master, Webbie, 8Ball and Rocko.
In the coming weeks, three songs from the album (“24 Hours,” Mouth Full of Gold,” and “I Don’t Love Her”) will have viral videos released via www.guccimaneonline.com.
The Return of Mr. Zone 6 tracklisting can be viewed below.
1. 24 Hours
2. Mouth Full of Golds feat. Baby
3. This Is What I Do feat. Waka Flocka & OJ Da Juiceman
4. Reckless feat. Cap & Chill
5. Shout Out to My Set feat. Wooh the Kid
6. I Don’t Love Her feat. Rocko & Webbie
7. Better Baby
8. Brinks feat. Master P
9. Pretty Women feat. Wale
10. Pancakes feat. Waka Flocka & 8ball
11. Hell Yeah feat. Slim Dunkin
12. My Year
13. Trick or Treat feat. Slim Dunkin, Wooh the Kid & Waka Flocka
Warner Bros. ended fan speculation and rumors today by confirming that Curren$y has signed to the label.
The prolific New Orleans emcee has released a fusillade of mixtapes over the last three years, including seven tapes in 2008 alone. Last year, he released the albums Pilot Talk and Pilot Talk II.
According to Warner Bros., the album series helped Curren$y gross over $750,000 in touring proceeds for 2010. In addition, the projects boasted sales of 40,000 and 30,000 respectively.
Under the Asylum/Warner Bros. signing, Curren$y retains his Jets International imprint. The first project will be a mixtape collaboration with Alchemist entitled Covert Coup. The release date is scheduled for April 19 on iTunes, and functions as a precursor to Curren$y’s 4/20 start date for his two month nationwide tour.
At press time, Curren$y is also working on his fifth and sixth studio albums: Muscle Car Chronicles and Pilot Talk III. Confirmed tour dates are listed below.
Wed 4/20 New Orleans, LA
Thu 4/21 Houston, TX
Fri 4/22 Austin, TX
Sat 4/23 Dallas, TX
Mon 4/25 Albuquerque, NM
Tue 4/26 Arizona
Wed 4/27 Arizona
Thu 4/28 San Diego, CA
Fri 4/29 Los Angeles, CA
Sat 4/30 Riverside, CA
Sun 5/1 San Luis Obispo, CA
Tue 5/3 Fresno, CA
Wed 5/4 San Jose, CA
Thus 5/5 Sacramento, CA
Fri 5/6 San Francisco, CA
Sat 5/7 Humboldt, CA
Sun 5/8 Eugene, OR
Tue 5/10 Portland, OR
Wed 5/11 Seattle, WA
Thu 5/12 Bellingham, WA
Fri 5/13 Victoria, British Columbia
Sat 5/14 Vancouver, British Columbia
Sun 5/15 Spokane, WA
Tue 5/1 Missoula, MT
Wed 5/18 Boise, ID
Thu 5/19 Salt Lake City, UT
Fri 5/20 Denver, CO
Sat 5/21 Boulder, CO
Sun 5/22 Ft. Collins
Tue 5/24 Omaha, NE
Wed 5/25 Minneapolis, MN
Thu 5/26 Iowa City, IA
Fri 5/27 Madison, WI
Sat 5/28 Chicago, IL
Sun 5/29 Ann Arbor
Tue 5/31 Toronto, Ontario
Wed 6/1 Montreal, Quebec
Thu 6/2 Burlington, MA
Fri 6/3 Boston, MA
Sat 6/4 New York, NY
Sun 6/5 Philadelphia, PA
Tue 6/6 Washington DC
Wed 6/8 Carrboro, NC
Thu 6/9 South Carolina
Fri 6/10 Atlanta, GA
Sat 6/11 Birmingham, AL
Sun 6/12 Oxford, AL
