You might call them the modern-day Odd Couple, as D.Allen and VG bring together the best, and strangest, of different worlds with Collector’s Edition. The Georgia-based musicians have spent over a decade perfecting their individual crafts as vocalists, songwriters and instrumentalists, and now they are ready to share their gifts with the universe.

With a fusion of jazz, soul, hip hop, funk and rock, the Collector’s Edition brand of pop music is refreshing and relatable. Their new single “Strip” is an example of how their fun, creative energies create memorable, club-friendly tunes. They recently released an official video for the song, and radio promotions are in progress as the duo preps their new mixtape Transition, slated for Summer release.

The name Collector’s Edition is fitting for the group, as they showcase so many classic styles together so boldly. As a military “brat” born in Germany, clean-cut VG brings his lyrical talents to the table with a strong foundation in songwriting and playing percussion. Edgy Chicago-bred crooner D.Allen rocks the keyboards to accentuate his adept songwriting abilities.

“Our goal is to blend genres and musical time periods, giving each track a distinct finger print,” explains VG. “We are giving music back the emotion and feeling that many of the modern songs are missing. We want to reconnect with music fans.”

With timeless influences that range from Theloneous Monk, Prince and Parliament to Queen, A Tribe Called Quest, Depeche Mode and Steely Dan; Collector’s Edition equally appreciates today’s popular artists like Ludacris, Common, The Roots and Kanye West. The Collector’s Edition sound has been compared to the likes of Outkast, Gnarles Barkley and N.E.R.D., the latter often said about the Wally West-produced “Strip” single. Rightfully so, as the song was directly influenced by N.E.R.D.’s “Tape You.”

“We speak for the new generation of listeners,” explains VG, “those who refuse to follow the stereotypes of who, or what one must listen to. The people who want to experience life and other cultures and ideas, without the restrictions of ‘you are (your race here) and that’s not sometime that (your race here) people do.’”

The men of Collector’s Edition want to be accepted as real musicians, and initially balked at the thought of doing a street mixtape. Eventually, however, they realized the positive effects of allowing fans to hear them over industry beats as an introduction. “We want to show our versatility and conceptuality on the records,” says D.Allen. “It will be our way to showcase a range and style of music that people can appreciate and embrace, and it will be a prelude of what to expect on our first official album.”

As their career as a group progresses, D.Allen and VG have their sights firmly set on connecting with fans around the country, and hope that the Collector’s Edition sound and style will be well-received.

“I want all our fans and future fans to know that as a group and individually we go through life like everybody else, and we express that through our music,” D.Allen says. “We want people to play our record if they’re going through some kind of hardship or just wanting to have fun. I think of Collector’s Edition as a ‘People Group.’”

Both VG and D.Allen express the desire to support philanthropic efforts in their career, particularly working with children in music programs. They also hope to begin scoring motion pictures and television shows amongst other things, and in the past year their work with manager Al Bleezy has brought on some promising opportunities.

“I believe if we continue to work hard and make strategic choices suitable for the group, Collector’s Edition will become one the premiere groups of the 21st century,” asserts D.Allen. “One thing that Al told me is, ‘if you think big, you get big results.’ Some people think that’s pretty ambitious, but I strongly believe that it is possible.”

For interviews and press information, contact dove@tygereye.net

Some children want to become firemen, doctors, nurses and even royalty when they grow up, but even at three-years-old, Phyllisia Ross knew she wanted to be a performer. Now a full-time Biology major at the University of Miami on the verge of graduation, the young musician is ensuring her academic excellence is on par with the entertainment career she has been building.

In recent years, Phyllisia has worked with industry powerhouses like Ne-Yo, Flo Rida, Bigg D, Scott Storch and Steve Morales. She’s also had some amazing collaborations with her SoBe Entertainment labelmates, and garnered ‘Song of the Year’ and ‘Collabo of the Year’ honors at the 2010 EME Awards in Jamaica with the Jah Cure duet “Call On Me.”

Now Phyllisia is preparing for the official radio release of her club-friendly singles “Money Clap” and “I’m Tired” featuring Flo Rida, with videos ready to go. Her upcoming album is slated for Summer release on SoBe Entertainment in association with Fontana/Universal Music Group Distribution.

An accomplished pianist, songwriter and singer, Phyllisia’s gifts were recognized early-on by her father. Although he dreamed of her becoming a medical doctor, he supported the toddler’s natural talents. She began with classical piano at age three, and was singing by five-years-old. Sadly, her father passed away when she was only 10, however Phyllisia was determined to make him proud.

After studying vocal performance in middle school, Phyllisia went on to attend Dreyfoos High School for Performing Arts in Palm Beach. “The type of singing I did in high school was operatic, called Bel Canto style,” she explains. “Over the years there are many genres of music that I’ve been singing. The classical teachers I had, the piano and all of those musical genres coming together shaped my sound to what it is today. It made me more disciplined as a musician, because I always know that I can be so much better than I am.”

Because of her wide array of musical skills, Phyllisia is wary of her talent being pigeonholed. “My life is so versatile that different emotions will come out. I might write a Hip-Hop song where I’m very intense, or the next day I could be feeling in a slow R&B mood. At this stage, I would definitely say I’m urban pop. I’m young, in school, I like to party and have a good time too. I’m going to make music based on my timeline and where I am in life. You’ll hear songs about heartbreak and love on my album too. I hope to cross over into adult contemporary when I do reach a Sade or classic Whitney Houston type of sound.”

Recognition at Jamaica’s 2010 EME Awards for her work Jah Cure’s 2009 single “Call on Me” has inspired Phyllisia even more. She is currently featured on Jah Cure’s latest single “Unconditional Love,” and embraces the appreciation from her Caribbean fans.

“Just to know that my name, my voice and message mean something to people and that it helps and touches somebody is a major step forward. Especially being awarded those two, Song of the Year and Collaboration of the Year – that song was on people’s minds for a while. It’s a motivator to continue on having accomplished something.”

SoBe Entertainment has been a major force in Phyllisia’s life, and she expresses the utmost respect for her professional family.

“Cecile Barker, CEO and Executive Producer, is behind me 100% in school as well as being an artist. You would think a record company wouldn’t want me to have any distractions from making music, but I think because he was an astronomical physicist and a brilliant man, he wants me to understand the life lessons that I’m learning. We’re like a tight knit family; I’m not going to let my family down. Life is about persistence and dedication, and SoBe Entertainment is more than music, it’s about life. “

Phyllisia’s yet-untitled debut album is near completion. “I have a bunch of diverse songs, even in other languages on my album,” she explains. “I have a song where I’m singing in Creole, dedicated to Haiti, one in Spanish, along with dance songs and R&B ballads. It just projects what I’ve gone through. I want to help people believe in themselves.

“You can do anything you want to do, and you can live your dream, but you have to work for it. I stuck to what I said I was going to do, and my music is just a reward. I want to help the world, whether I’m a doctor, or a singer who wrote a song that helped somebody else. That’s what other musicians have done for me, so that’s what I want to do for others.”

For interviews and press information, contact dove@tygereye.net

A jazz saxophonist/rapper/guitarist who looks like an MMA fighter; a classically trained pianist turned Hip Hop producer infatuated with ‘80s rock; a foster kid from Indianapolis who channeled his pain like a Hip Hop Marvin Gaye; and a young percussion phenom born and bred in Crown Heights, Brooklyn who rivals the loudest rock drummer you ever heard… In Soul Mafia, musical genres crash as often as cymbals.

With their new single and video “I Can’t Get Enough” dropping February 2010, their full-length album MK Ultra coming this Spring and the Wasted Tour in planning, Soul Mafia is ready for the world!

Nearly a decade ago, front man GC and keyboardist/producer Prism came together in New York and began developing the Soul Mafia sound. They engaged in a trial by fire of open mics, battles, self promoted shows and guerilla marketing tactics to brand the budding group. They formed Pursuance Inc., the production wing of Soul Mafia, and garnered music placement on the likes of FOX, ESPN and MSG, which in turn enabled them to finance their grass roots efforts.

The early years were characterized by a revolving door of supporting players, but after several line-up changes, GC and Prism found the missing elements of Soul Mafia in drummer Lil Dee and vocalist Iam Beck. Iam describes GC as “the culmination of true business ethics mixed with a lot of hard work,” while GC elaborates on his bandmates with lyrical finesse that elicits passion for his band beyond the boardroom.

“Prism has been a loyal and visionary partner,” GC says. “His genius is to hear music in colors, and this gives his production and synth work a level of nuance and balance that many producers and mixers can spend a lifetime trying to achieve. Iam is like a Phoenix rising from circumstance that would leave an ordinary man crushed. Lil Dee is the young stallion of the group, feeding the engine with the occasional nitro charge, pushing the train just to the point of veering off the tracks, all the while maintaining a stoic swag. I think all of us were born with the gift and curse of being musical conduits, and therefore, there is no plan B.”

It is increasingly evident that to be successful in the current landscape of music, artists must, for their own survival, become multidimensional. Lil Wayne conjured his inner rock star and marched to multiplatinum; Linkin Park blended programmed drums and rap with big guitars and soaring vocals to grow an international fan base; Kanye West reinvented himself as an emo singer on 808s and Heartbreak, and the list goes on. Blame it on the internet or globalization, but the walls separating musical styles are increasingly looking like lines in the sand… and Soul Mafia is a wave.

Drawing from their influences, hints of Prince, Billy Idol, Daft Punk, B.I.G., and even Coltrane and Beethoven dance in and out of Soul Mafia’s upcoming MK Ultra album.

“As our first real recorded work, this album means everything to us,” expresses Prism. “Soul Mafia has come so far from where we first started. It has slowly evolved into the beast of a band that we are now. To this point, this album represents all the struggles, hardships, victories, changes, blood, sweat and tears that we have dealt with along the way.”

Prism cites “I Can’t Get Enough” as his personal favorite song on MK Ultra, summing it up as “their addiction to living and breathing music.” GC is drawn to “Wasted” for its strong message. Iam explains that “All I Need” is a dedication to people dear to them. “Of course it had to be in the true Soul Mafia fashion – hard and balls-out loud!” he laughs. Meanwhile Lil Dee embraces the soulful “Reaching for the Stars,” which offers Hip Hop sensibility and a spiritual vibe with rock ballad ferocity.

With the inner circle established and battle tested from Detroit to South Carolina, these four talented men are well prepared to greet new fans across the country on their Wasted Tour this year. Forged through years of struggle and sacrifice both as individuals and as a collective, Soul Mafia is prepared to go the distance. In the words of GC: “Might lose my shirt, but never the shoes; receipts you keep when you pay your dues.”

For interviews and press information, contact dove@tygereye.net

“I Can’t Get Enough”

The Midwest music scene has thrived for decades with R&B, rock, soul, pop and Hip Hop music, however it can be a challenge to try and define the scene as a whole. Fortunately for young songwriter/performer Miz, the incredible influences from his region have given him inspiration beyond measure.

As the video for his independently released single “I Can Do You Better” featuring Chris Rich has garnered impressive attention from fans, Miz is readying the DJ Scream-hosted mixtape 100% Certified. He also just premiered his next single “Feeling Myself” featuring Ca$h, and is preparing his debut album Young & Famous with Solidified Entertainment.

Louisville, Kentucky native Miz has been writing songs since he was just 10-years-old, and by the time he was 12, Miz was performing with his group Young Rydaz throughout the Southeast and Midwest. The trio opened for major artists like Lil Wayne, Big Tymers, Juvenile and Lil Jon, and Miz gained enormous experience in his pre-teen travels, sparking his desire to write hit songs.

“My music comes from the heart, and I enjoy writing about what happens on a daily basis,” Miz explains. “I have the swag that Hip Hop fans want from a rapper, but I bring them real music. I write R&B, rock, anything you can name, I do it. The same thing Drake is doing… I’ve been doing it. He was able to show the world that he can do R&B and Hip Hop together, but I can write rock, country music, whatever. My music is universal, with more of a Midwest flavor. I don’t think people fully grasp the Midwest side of the music – it’s some out-of-the-box type of stuff.”

Miz understands that people want to be able to label and sort artists, however he’d like music fans to be open minded when it comes to his music. “People think that because we talk differently in the Midwest that we’re ‘country’, but we are not country. We do the same things as everyone else, we just have our different ways of doing them – including our own slang and fashion. I definitely like to express that with my sound.”

As the production on his new album progresses, Miz has some ideas of the direction he’d like to go. “My music is soulful,” he asserts. “I have dancing songs, a song that might touch your heart, a song you might wanna ride to… all of my songs are like different. They speak to my age group and beyond. For my album Young & Famous, I’m working with producers Chris Rich and J.Skillz. The album coming along, I’m taking my time with it. Right now I’m also doing a mixtape with Atlanta’s DJ Scream called 100% Certified.”

All in all, Miz wants people to accept him for his talent and allow room for his growth as an artist. “Most people judge me off the way I look, and probably think I’m a pretty boy, but I’ve been through a lot of stuff in my life. I’m trying to be a better person than most people from my area. Most of my friends are dead or in jail. I just want people to know I’m here to stay, and I want to bring them music that they will want to listen to over and over again.”

For interviews and press information, contact dove@tygereye.net

In rap, you must have your city — your streets — behind you in order to succeed. And there are plenty of reasons why the streets of Miami — as well as savvy rap fans around the world — are anxiously anticipating the arrival of C-Ride’s Polo Grounds Music/J Records debut album, Automatic Vibe.

It’s partly because the Carol City native’s witty wordplay has dazzled listeners on his highly coveted mixtapes, 2 Pistols’ “Lights Low (Pt. 2)” single, DJ Khaled’s We Global album and his single “Pushin” from the Save The Last Dance 2 soundtrack. It’s also because C-Ride’s storytelling ability rivals that of rap legends. And it’s because fans recognize that C-Ride brings a new style of Miami rap to the table: one of supreme lyricism with swagger, charisma and verbal intricacy that hits you as soon as you hear it.

“Once you press play, you’re going to catch that vibe, my vibe,” explains C-Ride, who has several blogs proclaiming that he’s “quite possibly the next potential best thing” out of Miami. “Everybody can rap about the same thing, but when I rap about it, it gives you a vibe — and it’s so automatic.”

Executive produced by and featuring landmark beatwork from super producers Cool & Dre (Fat Joe, The Game), Automatic Vibe is an all-star effort that serves as a platform for C-Ride to shine, both next to today’s A-List talent and on his own.

For instance, C-Ride teams with The Game on current Internet sensation “Dat What It Is,” instantly showing that rap’s newest star can carry his own weight lyrically next to one of the genre’s most respected spitters. This Cool & Dre-produced cut features a polished menace that allows both rappers to slaughter the high-energy track with bone-crushing rhymes. Continuing the rugged vibe, C-Ride is joined by Gorilla Zoe and Gucci Mane on “What’s Hood.”

Switching lanes from the ghetto streets to the penthouse suites, C-Ride flosses on “Money Round Here,” which also features T-Pain. “I didn’t seek out T-Pain, but when I heard the record and the hook he did on this particular record, I had to have it,” C-Ride reveals. “I love it because it’s a street record. It’s like ‘I’m So Hood,’ part two. It represented me, Florida and Miami so much. I just had to have it.”

Another thing C-Ride has to have is the ladies. On “Walk Different” with Pleasure P, he details the joys of lovemaking, while on the club ready “I Ain’t Fakin’” he lets the object of his desire know that he’s second to none. “I’m telling the girl that I’m realer than the rest,” he says. “Trey Songz did his thing on the hook and the ladies love him. Hopefully I can snatch some of love from the ladies.”

As much as he’s aiming for the ladies, C-Ride also wants to sustain that adulation he already enjoys from his longtime fans of either sex. For those fans in particular, C-Ride will be reworking his street classic “Sittin On My Porch” for Automatic Vibe, where it will be rechristened as “Certified.” He’ll also deliver an epic, safe-sex edition of his “Virgin” song series, which has become an underground sensation. C-Ride promises the next “Virgin” installment will be something remarkable. “I’m making it into one phenomenal song,” he says. “It’s like ‘Stan’ by Eminem.”

Raised in rugged Carol City, C-Ride had much more than writing raps on his mind. Although he was a skilled student, skipped a grade and graduated from high school at age 16, C-Ride was also drawn to the streets. He came from a broken home and was raised by his grandparents, whom he considers his mother and father.

But as high school ended, trouble began finding C-Ride over and over again. He moved to Atlanta to try to reset his life, only to wind up facing potential legal issues in Georgia, too. “I’ve never been the type to keep a job, but I always had bills,” he says. “I always had to find ways to pay bills and that usually leads to trouble when you’re not working.”

Yet right before he left Atlanta, C-Ride made a fateful trip to a recording studio. While there, he thought that the rappers working that night weren’t overly talented and that he could create material that easily exceeded theirs. C-Ride starting asking people he knew what it took to write good raps. He studied the artists and movements he was already a fan of — T.I., Pastor Troy, Cash Money — and became determined to establish himself on equal footing. By taking pieces from all of his influences, C-Ride the rapper was born.

Once he settled back into Miami, C-Ride started honing his craft and recording. He got his rap name from a pimp, who originally called him C-Rider because he could ride any type of beat. Not satisfied with the way the moniker sounded, he shortened it to C-Ride.

In 2004, C-Ride spent his own money to press up his first mixtape, Wide Open — and that’s exactly what he got fans and music industry insiders alike. One copy of his mixtape made its way to producers Cool & Dre, whose commercialized gangster beats helped Fat Joe, The Game, Lil Wayne and others sell millions of albums. Soon thereafter, Cool & Dre called C-Ride directly.

“We’d never heard anybody from Miami rapping like that,” says Cool & Dre’s Dre. “You probably wouldn’t even know that he’s from Miami unless he told you. He’s a lyricist and he takes pride in murdering a beat.”

Adds Bryan Leach, owner of Polo Grounds Music, which signed C-Ride in 2008: “I’ve worked with a number of superstar platinum artists over the years, and C-Ride has the lyricism, style, swag and hunger to become one of the game’s best.”

Now officially paired with Cool & Dre, C-Ride has become a legitimate force in the underground, releasing a slew of mixtapes, hitting the road with Rick Ross, Hurricane Chris and others, and earning such seemingly unlikely fans as lyrical heavyweights Slaughterhouse — all testaments to C-Ride’s momentum, potential and talent.

“I want to show people that we can rap down here in the South,” he says. “A lot of people still have doubts because of all the dancing songs that are coming out. We dance a lot too, but we’ve still got flows and can keep up with the rest of ya’ll from the West, East and Midwest, Japan, whatever. When you hear my album, I want you to want more. When my CD goes off, I want you to be mad that it’s over.”

Cause that vibe — that Automatic Vibe – is gone.

For interviews and press information, contact dove@tygereye.net

He’s been called “The Next Jeezy.” He’s a street rapper who makes hood anthems with the potential to reach the masses, like Young Jeezy, Rick Ross and Plies before him. That’s right, Yo Gotti is one of the hottest rappers in the streets, with some of the highest quality music. His street albums make serious noise without a major push, he stays on the road performing paid shows and he’s gotten more than 24 million plays on his Myspace page (myspace.com/yogotti).

All of this momentum sets the stage for what will surely be the album that takes Yo Gotti from street sensation to national star, the impeccable Live From The Kitchen. Boasting production from Cool & Dre (Lil Wayne, The Game), Shawty Redd (Young Jeezy, Snoop Dogg), DJ Toomp (T.I., Kanye West) and others, Yo Gotti’s latest concoction boasts his trademark street tales delivered with beats hard enough to sustain his street roots yet catchy enough to catch the ear of the average rap fan.

As for the album’s title, it has a lot to do with where Yo Gotti came from (a hustler from Memphis’ rugged Ridge Crest Apartments) and where he’s trying to go with his music (to a worldwide audience). “‘Live From The Kitchen,’ it’s a street term, because the kitchen is where you cook it up and where it starts from before you take it to the streets,” explains Yo Gotti. “We’re relating that to the music and the whole movement of cocaine music. I’ve got the mixtape series Cocaine Muzik, which means that once you put the CD in your music player, you’ll get addicted to it just as you would be with cocaine.”

And Yo Gotti’s sonic product is Grade A. His uncanny ability to translate real life situations and experience into memorable songs makes Yo Gotti so potent. It’s something he developed while listening to the great story raps of Memphis pioneers 8 Ball & MJG. “When I listen to music, I don’t like it if I can’t see it, if I can’t imagine it happening,” he says. “If it’s like that, I can’t mess with it.”

All the songs from Live From The Kitchen transport you to the moment. Yo Gotti blends street talk with big sounds on “She Comin’,” a graphic sexual romp, and on “Love The Life,” where he details how certain ladies are infatuated by all of the drama and the rewards that come with being a street cat’s woman. Yo Gotti turns the trick again on the electric “5 Star,” the smash single that salutes the baddest women around. “Everybody wants a bad chick,” he says. “To street dudes, they’re damn near like trophies. It’s just like a hotel. You want a five star hotel.”

Shifting gears, Yo Gotti shouts out street soldiers on the tough “Look In The Mirror.” This song is a classic dissertation on real recognizing real. “I’m telling people that if you’re a real dude and you’re looking in the mirror, you’re looking at me,” he explains. “We’re seeing the same thing.”

Growing up in Memphis, Yo Gotti quickly learned about recognizing reality. When he was in the third grade, Federal Agents raided his family’s residence. His mother and his aunts were indicted and sent to serve 10 to 15 years because they refused to snitch. No wonder he feels as though he was virtually born into street life. “That’s the bloodline I come from,” he boasts. “I’ve got women that are realer than the dudes out here.”

Yo Gotti soon started running with kids five or six years older than him. They called him Yo (short for his given name, Mario) and added the Gotti surname later because of his affinity for doing things kids his age typically didn’t do — shoot dice, watch out for the police and recruit his own crew of kids that followed him. Funny thing is, Yo Gotti had no idea about the Gotti crime family at the time. He was just that thorough.

Rather than feel as though his opportunities were limited, Yo Gotti chose to focus on becoming successful. “Coming from Memphis, it makes you strong and it makes you grind more,” he says. “Out here, nothing is given to you. Nobody helps you do anything. So if you’re going to get it, you’ve got to go get it. Literally. I think that’s why you don’t hear about that many rappers from Memphis like you do from other cities. But it helped me because I’m not the type of guy that complains. From where I come from, you could be dead or in jail. So I wasn’t expecting anyone to do anything for me.”

Thus, Yo Gotti would take advantage of any and every opportunity. Through his brother, Yo Gotti got to interact with and study the business savvy (and lack thereof) of several prominent Memphis rappers. He then used the work of N.W.A, 8 Ball & MJG and Cash Money as a blueprint for his own reality-based raps. As he refined his own music, Yo Gotti took different things from Memphis’ two most successful rap outfits. His goal was to rap about real subject matter like 8Ball & MJG with the energy and intensity of Three 6 Mafia.

Yo Gotti’s self-created buzz in Memphis lead to a deal with TVT Records, home then to Lil Jon, Ying Yang Twins, Pitbull and others. But when the imprint went bankrupt in 2008, he was given three days to come up with $500,000 to buy his contract and gain his independence. Ever the businessman, Yo Gotti paid for his contract himself – only to quickly sign a million dollar deal for himself and his Inevitable Entertainment with Polo Grounds Music/J Records. Despite other offers with more up-front money, Yo Gotti chose to sign with Polo Grounds Music because of the relationship he had with the company’s owner, Bryan Leach, who had initially signed Yo Gotti to TVT.

“I saw the work Yo Gotti was putting in in the streets of Memphis when I worked with TVT,” Leach says. “I knew that his grind and the high quality of his music made him someone I wanted to continue to do business with. He’s a street artist with the potential for massive mainstream success, and he’s relentless. That’s why I signed him twice.”

With a string of hugely successful major classic mixtapes and street albums — from 2000’s From Da Dope Game 2 Da Rap Game to 2009’s CM2 — Yo Gotti has been able to thrive during a period when many artists are seeing their popularity wane. He’s sold more than 300,000 copies of his Cocaine Muzik mixtape series and is readying for another release prior the release of Live From The Kitchen. Yo Gotti’s status as a CEO is also taking hold, as his artist Allstar is signed to Cash Money/Universal. Other acts on his roster include Gripp and Novakane.

“I think what we’ve done in the last few years is living proof that if you hustle, you can survive regardless,” he says. “I’ve only been putting out mixtapes the last few years and now I’m the hottest I’ve ever been and have grossed the most money without putting a studio album out. If you’ve got good music and you’ve got a grind, you make a demand for yourself.”

The proof is Live From The Kitchen.

For interviews and press information, contact dove@tygereye.net

When Oscar-winning actress Halle Berry goes on national television and makes a point to dance to your song, you know you’ve tapped into something remarkable. And that’s exactly what happened when Berry and Ellen DeGeneres broke out their own moves on the Ellen DeGeneres Show to Hurricane Chris’ “Halle Berry (She’s Fine).”

“When I saw that Halle endorsed the song, that just made me appreciate her even more,” Hurricane Chris says. “That let me know that the song was going to the moon.”

Already an underground phenomenon thanks to the multitude of people who made up their own dances and posted them on YouTube prior to Berry’s own routine, the Superstarr and Play N Skillz-produced cut has become the No. 1 anthem for saluting beautiful women. Hurricane Chris felt the magic as soon as he recorded the song. “Everybody was like, that’s a hit right there,” he says. “That’s a hit. Now we got the whole world hollering ‘Halle Beeeeerrrrrry.’”

His “Halle Berry (She’s Fine)” mixtape remix featuring Ludacris, Beenie Man, Pitbull, Yo Gotti, Yung Joc and Lil Boosie provided a perfect platform for Hurricane Chris’ smash second album, Unleashed. Best known for his triple platinum 2007 single “A Bay Bay” and for introducing his signature “ratchet” flavor to the world, the Louisiana native has learned a lot about life and the music business and feels that he’s been freed, literally and figuratively.

“Being fresh in the game, a lot of things come with that, like restraints,” reveals Hurricane Chris, whose new album also features production from Shawty Redd (Young Jeezy, Snoop Dogg), Phunk Dawg (“A Bay Bay”) and Don Vito (Cherish). “You’re going to be held back in a lot of minor ways. Now I’m unleashed. I’m off the collar. I’m off the chain. I’m not held back by anything anymore. I’m educated and I know the game. I’m unleashed and I’m ready to hit ‘em with this ‘Ratchet’ flavor.”

The “Ratchet” flavor is to do you no matter what, to be yourself regardless. And for Hurricane Chris, Unleashed provides his creative, distinctive take on a variety of musical sounds and styles, from slow jams to club bangers to street music to songs with heavy meaning. “Last Call,” for instance, features Bobby Valentino and Chris detailing their adventures when the DJ at the club lets everyone know that the bar is about to be shut down.

Other distinctive cuts include the Cherish duet “Secret Lover” and “No Worries,” which features Beenie Man. Hurricane Chris then taps into more traditional territory with Mario and Plies on the sexually intense “Headboard.” This song features a quick, bouncy tempo, much like a lively lovemaking session.

But life isn’t all about fun. Growing up in Shreveport, Louisiana, Hurricane Chris learned how to deal with pain at an early age. Although the city is the third largest in Louisiana, nearly a quarter of its population lives below the poverty line. That’s what makes Hurricane Chris’ bond with his family — by blood and by friendship — so critical. They didn’t have much else.

“I come from not having anything,” he says. “Coming from that, you really learn how to appreciate people who really care for you, who do for you in any kind of way. I have a lot of people around me who were in the same situation I was in.”

No wonder Hurricane Chris calls his label 5150, meaning that he’s 101 percent real. His debut album, 2007’s 51/50 Ratchet, established Hurricane Chris as a capable hitmaker thanks to his irresistible club sensation “A Bay Bay.” The tune’s easily chantable chorus and mesmerizing keyboard patterns helped propel the single to triple platinum success.

From there, Hurricane Chris inked a deal with Fila via Polo Grounds Music to represent the popular shoe brand, resulting in the Helmsman shoe, which sold more than 400,000 pairs. He recorded songs with Chris Brown, Bow Wow, Mike Jones and others, and was featured on the Chris Brown tour with Soulja Boy Tell ’Em, Lil Mama, Sean Kingston and Bow Wow.

He also launched charitable initiatives in Shreveport, toured in Japan and Europe and will be launching his own artists, Louisiana Will and Calico. There’s also the impending release of A Bad Azz Hurricane, a collaborative mixtape with Lil Boosie.

Yet regardless of the project, Hurricane Chris will always bring his all. “I’m going to give you that energy every time,” he says. “I go crazy in my music and on stage. I don’t hold back nothing. I give you that high voltage every time. My fans love that energy and I’m going to keep feeding it to them.”

So when Hurricane Chris tells you that he feels Unleashed, believe it.

For interviews and press information, contact dove@tygereye.net

Headboard feat. Plies and Mario

Hurricane Chris

What can you say about an all-Black all-outta-Brooklyn band whose metal, punk and rudeboy skanking licks sound as credible and crunchy as their Hip Hop lyrics and headnodding bounce? Game Rebellion makes the difficult sound effortless and the miraculous seem second nature: A hard rockin band with a B-boy MC who can actually spit? No problem! A new EP created by a band that actually rocks and flows? No problem!

With a strong fanbase behind the movement, Game Rebellion is firing up the next phase of their career with the HD video “Blind,” a series of shows across the country, and their EP Sounds Like a Riot that just hit iTunes on January 18, 2010.

Game Rebellion is a band of amazing musicians dedicated to defying the rules and creating their own way. The guitar solos of Yohimbe will leave you stunned at his free-flowing artistry and technical skill. The lyrical prowess and production of Netic provide an unobstructed view of the angst of young rebels everywhere. The musicianship and vocals of Emi display the conviction and the passion of a misunderstood generation. The thick and layered sound of Ahmed on the bass will remind everyone that Game Rebellion is not here to play nice. The amazing versatility and hard hitting percussion of Aaron provide the perfect tempo for the Game Rebellion mantra:

We Play By Our Own Rules: Welcome to the Rebellion!

Game Rebellion has been making big waves on the New York scene since 2006. The men found common ground after a gig they played together at Irving Plaza, and the musicians-for-hire soon became a band on fire! Since then, they’ve ventured across the country and overseas to further to slam heads, rock houses and muddy the lilywhite waters of Hip Hop and Rock from NYC and Cali to Puerto Rico and the UK.

The range of their individual influences in music is so vast – like Prince, The Cure, Jimi Hendrix, The Isley Brothers, Bad Brains, Johnny Cash, Megadeth and Guns & Roses to name a few – that it’s near impossible to put a label on the Game Rebellion vibe. Sumptuous… urgent… cacophonous… anthemic – the sheer monstrosity of sound pumping through the speakers is enough to keep your mind open. “Its shock therapy,” Ahmed asserts. “It will change your standards of pop music.”

Game Rebellion’s stage show is driven by frenetic synergy between the multi-talented quintet and their fans. “The feeling we get from performing live is the energy transfer from us to the audience and back,” explains Emi. “Each show raises the level of the transfer, because we have people who know the music and who rally behind what we bring to the stage. The resulting effect is better than any high.”

Netic delves a little further into their amazing connection with fans: ”Game Rebellion is the Alpha Team you send in when you want to get hostages or kidnapped children back. We move in quietly with the mosh pit squad, then boom! We throw C4, Semtex, Flash and Frag Grenades! Big explosions while we walk in slow motion… and when the smoke clears we always save the villagers. We leave as quietly as we came. We don’t have fans, we have recruits!”

The bandmates are all buzzing with excitement about Sounds Like a Riot. “I’ve been very anxious about the release of this new record,” Ahmed professes. “This is our first project with all original songs.”

“I pulled in my friend Circut to assist on some of the synth and programming work,” Netic explains. “I love the production process of making records more than anything else, so I take it very serious. The people I work with on the Game Rebellion projects become very close friends due to the intensity and personal passion that goes into our music. ‘2012’ is by far my personal favorite on Sounds Like a Riot – it’s the song that speaks the most to the absurdity of our reality: There’s a whole in the sky / The city’s on fire / You ain’t fly ni**a / We’re all gonna die.”

The Game Rebellion movement is far more intense than what meets the eye, as passion, ingenuity, electricity and spirituality collide, merging genres and subculture-induced soundscapes for the next generation. Their commitment to the music is only superseded by their commitment to each other.

“Game Rebellion came together out of a need to create an environment where we can all be the best at our selected positions,” says Emi. “We all have similar values and musical tastes. The reason why this band works is because we all believe in each other. We hold each other down, and we are all accountable for making this movement work. In Game Rebellion, it is a band of brothers against all odds. We will do it together, or not at all.”

For interviews and press information, contact dove@tygereye.net

Some of the most dynamic change in the world is sparked by the simplest of ideas. At just 29-years-old, Roy “Royalty” Hamilton III is already an industry vet with over a decade of musical hits, power moves and executive decisions under his belt. As a producer, songwriter, composer, performer, director and consummate business man, Hamilton is ready to unleash his own brand of empowerment through music.

Recently, Roy’s production hit the Billboard Top 10 again with R.Kelly’s single “Number One” featuring Keri Hilson, and the track appears on Kelly’s new album Untitled. He’s also taken on the first single for newcomer InviZible Man, and his single “The Invizible Man” is already garnering national radio play. Four versions of the song, all produced by Roy Hamilton III, will be presented on an EP in 2010.

In February 2010, Roy released his own “micro-mixtape” entitled The International, hosted by DJ Whoo Kid and DJ Do-It-All. The project is accompanied by exclusive videos for each of the four tracks, followed two more micro-mixtapes counting down to his official album release in 2011.

Roy will also unveil his Royality TV series online in Spring of 2010, showcasing in-studio surprise guests and special behind-the-scenes features from his incredible journey to the album debut. All of this is leading up to the release of his debut album The Last Monarch/The MA-Day on May 3, 2011.

From childhood, New York-born, New Jersey-raised Roy Hamilton III possessed inspiration and innate ambition that grew into a multitude of ideas for the future. His vision evolved into an obsession to make a difference with the next generation of music hopefuls in his region, and ultimately the world at large. Great change may seem like a lofty goal in the aftermath of the tattered music industry and the all-around lack of musical appreciation in today’s society, however Roy is confident in his ability to revitalize the passion.

“I feel like my life itself gave me an advantage since birth,” explains Roy. “My grandfather, Roy Hamilton, was a renowned star in his day. Growing up, my parents kept me around music, and my father’s Godfather is BB King. When I turned 16, I started performing locally in the Atlantic City area, then I met R.Kelly at 17. So it’s just like my steps have been in order, kind of a divine order, and I can’t even say how.”

The character of a true leader can only be improved by mentorship, and Roy’s journey has been rich with amazing teachers. The versatile young artist and entrepreneur credits R.Kelly and former Capitol Records CEO Andy Slater as major influences on his career.

“R.Kelly has been in my life over the last decade or so, as not only an inspiration but as a teacher,” says Roy. “He hasn’t been shy or stingy about what he knows and sharing it with me. Having access to a genius like him really helped me out a lot along the way. I worked under Andy Slater at Capitol Records from 2004-2007, he was the president and CEO at the time. He developed and managed Fiona Apple and Macy Gray, and he was the manager of the Beastie Boys for a long time. He brought me in because he saw my knack for finding talent and being able to cultivate it and bring it to a level of excellence.”

Prior to his days in the office, Roy’s production included work on albums for the likes of N’Sync, Britney Spears, Nas, Michael Jackson, Samantha Mumba and Keith Sweat. He produced the #1 hits “Stutter” for Joe (Pop) and “Liar” for Profyle (R&B), as well as Top 20 hits “Friend of Mine (Rmx)” for Kelly Price and “Wanna Do You Right” for K-Ci and JoJo.  During his tenure at Capitol Records, Roy helped to develop projects for LeToya Luckett, Chingy, MIMS, J. Holiday and more. Additionally, he served as the Musical Director on two tours for The Cheetah Girls (’06-’07).

A key element that keeps Roy Hamilton III fresh on the corporate side of music is an open attitude about technology. “I’m very in line with what’s going on in terms of the transition from physical to digital music distribution,” he asserts. “I have something I’m working on right now which I think will be one of the main driving forces as far as how music is delivered. I listen to all kinds of music myself, and am invested in providing new channels of distribution for fans. I’m a man of the people, so I’ve been listening to what my non-industry friends have to say, and I’ve been listening to those in the music business complain about how they’re losing their jobs. I think I’m going to help be the balance.”

On the creative side of things, Roy is always testing the limits with an admittedly strange process in his songwriting. “I just try to come with something that everybody can relate to, whether I’m looking at the ocean or one of my friends says something really funny and I make it into a hook. I’ll pull out my iPhone and start singing or playing the melody right on my phone and just trap it there. When I’m in the studio I’ll go through a whole bunch of ideas and find that moment from my phone… then we produce records. I start with this little seed of a tiny idea, wherever that inspiration hits me I try to trap it and record it, because I know that those moments are where the magic is made.”

Roy’s upcoming production for 2010 includes tracks for Pleasure P, Kristinia DeBarge and Pop princess JoJo. As he embarks upon his solo career, Roy Hamilton III feels that his mission is clear, and he is prepared for the long haul. Positive, opinionated and passionate, he does not see obstacles, only opportunities.

“As a part of my mission statement, I believe it’s time for things to be illuminated. I think music is in a dark place, with people compromising anything for a dollar. I’ve always been blessed enough not to have to do that, and it’s been tough for me to figure out how to stay relevant and still keep my morals intact. I don’t believe in doing stuff just to be doing it, so people should know what they’re going to be hearing from me. I don’t curse in my music, and future productions will all be consistent with this same mission statement.”

For interviews and press information, contact dove@tygereye.net

PRODUCTION DISCOGRAPHY

Singles

1998 – Kelly Price – “Friend of Mine (Rmx)” ft. R.Kelly & Ron Isley (#1 R&B, #12 Pop)
2001 – Joe – “Stutter” (#1 Pop, #1 R&B, #7 UK singles)
2001 – K-Ci & JoJo – “Wanna Do You Right” (#60 R&B)
2002 – Michael Jackson – “Shout” – b-side of “Cry” int’l release
2008 – Cene – “My Bumper” (& remix ft. Shawty Lo)
2008 – George Nozuka – “Last Time” (Top 10 Canada)
2009 – Day 26 – “Dizzy” (leaked)
2009 – JoJo – “Take Me (Around the World)” (leaked)
2009 – Bayje – “Wonderland” (leaked)
2009 – R.Kelly – “Number One” ft. Keri Hilson
2009 – InviZible Man “The Invizible Man”

Contributions to Full Lengths and Compilations

1998 – Kelly Price – “Friend of Mine (Rmx)” ft. R.Kelly & Ron Isley – Soul of a Woman (Island – 2x platinum)
1998 – R.Kelly - “We Ride” ft. Jay-Z, Cam’ron, Noreaga & Vegas Cats (rap before Jay-Z) – R. (Jive – diamond)
1999 – Nas - “Big Girl Now” “New World” – Nastradamus (Columbia – platinum)
2000 – Samantha Mumba – “The Boy” (UK) “The Boy” ft. Will.I.Am (US) Gotta Tell You (Polydor/Interscope – 4x platinum)
2000 – K-Ci & JoJo – “Wanna Do You Right” – X (MCA)
2001 – N’Sync – “Falling” (int’l rls. bonus track ) – Celebrity (Jive – 8x platinum)
2002 – Michael Jackson – “Shout” – Invincible int’l rls. Co-prod. w/ Teddy Riley (Epic – diamond)
2002 – Joe – “Stutter” – My Name Is Joe (Jive – 3x platinum)
2002 – Keith Sweat – “Gots to Have It” “Anything Goes” “Ladies Night” “100% All Man” “The Right Stuff” “What Is It” – Rebirth (Elektra)
2003 – Joe – “Sweeter Than Sugar” “And Then” “Street Dreams” – And Then (Jive – gold)
2003 – Britney Spears – “I’ve Got That (Boom Boom)” – In The Zone (Jive – diamond)
2004 – Houston - “Twizala” – It’s Already Written (Capitol – gold)
2004 – Guerilla Black – “Sunrise” – Guerilla City (Virgin)
2004 – Eamon - “Girl Act Right” “Rather Be With You” – I Don’t Want You Back (Jive)
2008 – George Nozuka – “Last Time” – Believe (HC Entertainment)
2009 – Keri Hilson – “Do It” (iTunes bonus track) – In A Perfect World (Mosley/Zone-4/Interscope – gold)
2009 – Kristinia DeBarge “It’s Gotta Be Love” co-prod. w/ Babyface - Exposed (Sodapop/Island)
2009 – R.Kelly “Number One” ft. Keri Hilson – Untitled (Jive)

Special Projects – Television and Film

1998 – Lady “No Way In, No Way Out” (co-prod. & background vocals) – Belly Movie Soundtrack
1999 – Destiny’s Child “Stimulate Me” ft. Mocha (co-prod.), “Every Which Way” Talent ft. Vegas Cats (vocals) – Life Movie Soundtrack

2009/2010 Unreleased Projects

2010 – Pleasure P “Baby It’s Over” from Suppertime (Atlantic)
2010 – Bayje “Wonderland” from upcoming album (Atlantic)
2010 – JoJo “Take Me (Around the World)” from All I Want Is Everything (Blackground/Interscope)

“Sexy Chick” (HD Video) from The International Micro-Mixtape

“Have Sum Fun” ft. Selina Carreras of Axixs (HD Video) from The International Micro-Mixtape

“Fast Car” (HD Video) from The International Micro-Mixtape

The Axixs ft. Roy Hamilton III “Hipstar” (HD Video)

Dance crazes, skinny jeans, delicious twists on American slang and colorful accessories are all a part of the new-age influence on today’s popular music. Call it a renaissance if you will, as young people fuse splashes of Hip Hop, rock, punk and pop culture regenerated from the ‘80s and early ‘90s to create their own exciting new scene.

At just 17-years-old, songwriter/producer Mr. CG is creating another part of what will one day be a historic era. His current single “Boogie Board 9000” has fans across the country going wild with their versions of the dance video. Early success of the song in association with NBA vet Troy Hudson’s Hudson Records imprint drew the attention of MeMpHiTz of Hitz Committee, who promptly signed the hard-working teen to Jive Records. Mr. CG is already hard at work prepping his full-length album for release in 2010.

Once a member of the Pop It Off Boys, known for their hit single “Crank Dat Batman,” Mr. CG is no stranger to the spotlight. As he prepares his solo debut, the young performer is ready to unleash his futuristic cross-genre style on the world.

By the time he was 10-years-old, the Carbondale, Illinois native was set up with a studio from his encouraging parents. Mr. CG’s cousin helped him get a start on operating the equipment, and his fate was sealed. He began writing songs influenced by a variety of artists, and began to build a sound that he now describes as “a walking MP3 player.”

“I have everything to give to everyone, I can do anything when it comes to music,” CG says confidently. “To describe it in a word, I’m spazzing. My music is just like spazzed out. I travel everywhere and pick up a lot of different styles, then I make up my own style. I would say The Dream, Drake and Michael Jackson have influenced me the most.”

While “Boogie Board 9000” is a certified club hit, Mr. CG will bring a blend of styles to his full-length album. He has a very specific vision, even if he can’t fully convey it just yet. “I’m producing my own stuff for this project, but taking in from other producers as well,” he explains. “When I get in the studio and get ready to make tracks, it’s already there… I can hear it and visualize it before I even get to the studio. So it’s like when I touch the keyboard I already know what’s gonna come out.”

“When I created ‘Boogie Board 9000’, I went down to Atlanta because I wanted to feel the vibe down there,” he continues. “My friends Motion Sickness had a dance called Boogie Board 9000, and I was like ‘I should make a song out of that.’ When I listened to the Atlanta type of rap vibe, and how you could still sing too, I went in the studio and got a beat, put it together and it was real good.

“The follow-up single is called “G Shock” featuring Rich Kids out of Atlanta. They’re signed to T.I.’s Grand Hustle label. It’s a real nice song – it’s pretty different. We’re trying to see if we could set up a deal to promote the G-Shock watches along with the song. I think that would be very great.”

Mr. CG prefers the life of a solo artist over being in a group, and he’s ready to accept responsibility for his work, and for his generation. “Everything changes every day, and Hip-Hop is changing. Everything that’s coming out now represents what us teens do. You’ll see a lot of people coming in real young that can’t rap, produce, sing and do other types of music and make it sound good. I just make everything sound good.”

“Honestly I just want to earn respect… most of these new people aren’t earning respect. I listen to Miley Cyrus, The Jonas Brothers, Taylor Swift, and all of the pop artists. I would love to work with them. We appeal to a crowd that older people can’t catch – they’re not gonna do it like we gonna do it.”

For interviews and press information, contact dove@tygereye.net