I'm BACKKKKK

Hey ya'll... SOOOOOOOOOO sorry i bounced.. lol.. but I am back. BUt it's good news.. cause i was in the studio.. and hopefully I'll be able to post some of my music that I did... I actually haven't really mentioned it but I sing.. so I finally got off my ass and went to the studio and recorded a few tracks... And i'm definitely looking for some HOT HOT HOT producers... so if you know any.. send em my way ya'll!! Anywyas .. urgh I hate that I"m behind on this music scene now lol... so i'm gonna be playing catch up again. Thanks for all the shout outs... Its good to know people are feelin the site.. cause for awhile there I felt like I was talkin to myself out here =) A'ight.. i'll have a post up tomorrow so be on the lookout.. I still have some new stuff I haven't posted from before.. plus I'll get on those new tracks out there... -Trini.A.

Novel ...

So I thought I'd post up a Keri Hilson Package of her songs to date.. Apparently she'll be droppin a mixtape, Timbaland Presents: The Keri Hilson Experience in August , she's signed to his Mosley Music Group/Interscope and right now for Keri it's lookin like 'Love Ya' will be her first single, seeing as it's HUGELY popular... Now according to sources... (an OLD article...) The album was supposed to drop last February (2006) and Timbaland's producing 12 tracks /executive producing and the rest of the producers include Mike City, Organized Noize, Walter Millsap, Rich Harrison and Vidal & DRE and has some singles entitled "Get It Poppin" "Quicksand" and "Hush" (produced by Timbo & Danja). While the album looking to feature Ginuwine, The Game, Keyshia Cole, Jamie Foxx and Twista. courtesy of : http://www.hiphopdeal.com/article1719.html On another note I wish she'd take back that track she gave to Kelly Rowland "Wrong When You Gone" ... cause it's fireeeeeee... Oh and did ya'll catch her in the Nelly Furtado video? Keri Hilson //RhythmandChange.blogspot.com// Mix Tracklist 1.Come Clean 2.Where Did He Go 3. Love Ya 4. Happy Juice Feat Snoop Dogg 5. Happy Juice Fet Snoop Dogg/Stat Quo (Remix) 6. Wrong When You're Gone (Snippet) /////\\\\ Annnnnnnnnd Claudette Ortiz is commiinnnnnnnn ya'll.. now I can't say I'm impressed with that joint 'Can't Get Enough' she did wit Mase ( whyyyyyy him?) It just hasssssss to be old. Lol.. BUT I do like this girl.. ever since her City High days and 'Caramel'.. there's something special about her... vocally she reminds me of Bee... but she's got an earthier appeal..like she's pourin out her soul when she sings... and with the right producers.. I totally think she could have a dope album. I love that track Run A Little More... and her duet she did long time, wit.. Wyclef "Two Words." Also the original 'Dance Like This' featured on Dirty Dancing Havana Nights Soundtrack, before Wyclef decided to give it to Shakira. I also managed to get a few new tracks from her too so peep them... on her ballad "A Message To You" she's giving us a sample of that 'something' she definitely has.. ... but I'm still waitin for something bigger.... Claudette Ortiz // RhythmandChange.blogspot.com // Mix Tracklist: 1. Run A Little More 2. Two Words 3. Message To You 4. Handcuffs 5. Can't Get Enough 6. Dance Like This ( w/ Wyclef) 7. Caramel (City High) ////\\\

Back Again ///\\\

Yes I'm back ..... again I've done like 3 posts in the last 2 days .. but I figure why not post when ya get stuff, Right?? But I decided to post up some songs I got last night....It's gettin crazy... neways peep the Tagboard.. I've got a special message for ya'll there about contacting me. And i'm tryin out some new servers.. cause I got a reallllllllllllllly long list.. trying to determine who's fastest.. leave me note and lemme know what your favorite file hosting server is... and i'll try to find some fast ones... And onnnnnnnnnnnnn to the new music.. R&C Fresh Jointzzzzzzzz: Emily King - Walk In My Shoes (Feat The Notorious B.I.G.) // OH MY...I really like this joint....this coulda been a Mary joint... and King comes off very R&B/Jazzy ... it's very dope.. Good choice of the Biggie verses... and it really reminds me of Mary J's older stuff..... she's signed to J records. Emily King Myspace Candace Jones - Hustler's Anthem ('Why You Wanna' Remix) // It's.. O.K. basically the song is saying... 'Get That Money!!'... sure, lets perpetuate the infatuation with material wealth and monetary gain and not pay attention to the PROBLEMS in the streets/neighborhoods.. lol.. maybe a lil too deep for this.. but I'm juss sayin... it's redundant. Chico Benymon - Want It (Produced by Tim & Bob)// he 'wants it'?? I'm sayin', he couldn't think of a better hook?? Jody - What If // Jody ... is a dude... by the way. I like the beat... and as it progressess it gets better.. and he sounds like he has an accent.. from the UK maybe?? not bad though...i dont hate it. ((This server is awfull.. painfully slowwwww)) Epitome - Pressure // I dunno who this is .. but the girl singing kinda sounds like Yummy Bingham Megan Rochell - Betcha (Remix)(Feat AC) // Ahhhh I was looking for this in time to post when I did the Megan Feature.. BUTTTTTTTT couldn't and now someone emails it to me!!! .. Thanks though! and here ya go... I'll put another link up in the Megan Feature post as well... Penelope Jones - No Matter What They Say (Feat Mya) // Ahhh this songs okay... the sample is very popular.. but my favorite song that sampled it is still 'Tank - Make Me Wanna Sing' Mya is.... mya. Penelope Jones - Louie // hahah... this song makes me laugh .. kinda catchy though lol Aloe Blacc - I'm Beautful // hmm a little trite .. but this song is a nice change from all the ass shakin' and bitches & hoes songs out there.. he's a 'Neo-Soul' artist.. I managed to get a ton of other songs from him as well.. I'll weed through em for the dope tracks for ya.

Rhythm And Change: Forgotten Music??

Rhythm & Change's Forgotten Music? Lookin at ... The Foreign Exchange - TheForeignExchange.Com - Official Website -------- Ahhhhhhhhhhhhh thought I would put up one of my favorite cd's ever made... Real Talk? One of the biggest Hip Hop albums for me... came out in 2004.. and the story of how it was made is just as inspiring... A good friend hooked me up with one of their songs.. "Come Around" and I was hooked...and I was surprised the album wasn't being more hyped... the beats are dope.. really well produced... reminscent of UK Hiphop..... the vocals and rap deliverey is sick as well. Phonte of Little Brother .. is just as lyrical as always and he definitely brings it with all the artists he scrounged up on this album to add the vocals... It's a very chill album.. from beginning to end ... So take a look and DEFINITELY take a Listen. Biography: The members of Foreign Exchange have never held a telephone conversation: never met face to face. That's right. Breaking the current barriers set up between music and geography, The Foreign Exchange conceptualized, conceived and completed Connected by means of instant messenger and the world wide web. Consisting of Phonte of Little Brother fame (vocals) and Nicolay (drums, bass, keys, guitars and samples), The Foreign Exchange came together via the online hip-hop community where people of like-minded music and artistry dwell: Okayplayer.com. Although Nicolay is based in the Netherlands and Phonte in Raleigh, NC they continued to trade music and discussed plans for a full length project.Once the idea of a full length album became clear, The Foreign Exchange came to life.After more than a year and a half of "file swapping," Connected was completed. More melody than machinery, The Foreign Exchange composed a musical soundscape unifying all that is great about hip-hop, R&B and electronic soul. Through the 80s soul/funk synthesized sound of "Come Around" and street-wise "Raw Life", the Foreign Exchange blend all of their musical influences to come back to hip-hop. Renewing their love affair for hip-hop and music in general .Connected also acts as a showcase for up-and-coming artists such as the soulful YahZarah, lyricist Critically Acclaimed and members from North Carolina's Justus League. And to ease all aniexites of Little Brother fans, "Let’s Move" let's you know the trio is still holding it down.The Foreign Exchange's Connected is proof that the worlds of music and technology can not only co-exist, but unite. Foreign Exchange Props: "There is a song on there titled 'Sincere' that so moved me I listened to it 3 times in a row while I was in the shower. When my fingers became raisins I decided I should probably get out the tub, but super wowsers!"- Bobbito Garcia AKA DJ Cucumber Slice "A potent mix of battle-ready lyricism, falsetto crooning and European ambient grooves"– The Source "An exemplary program of neo-Soulquarian groovology"– XXL "Foreign Exchange joint is a breath of fresh air. A true testament to the salvation of Hip-Hop's legacy. For real."- DJ Spinna "The Foreign Exchange is globalization at its best. WTO, eat your dirty heart out! Now if we can just get these cats on the UN Security Council..." - DJ Scribe (Love Revolution) "Man...This is really hot...I'm playin the shit out of the CD...I'm lovin' it... The most refreshing taste of music I had all year."- DJ Jazzy Jeff (ATOJ) "The idea of technology making the world a smaller place is no longer just an idea, it's a reality! If more results of this reality is anything like The Foreign Exchange album, then music will definitely be what changes our society for the better. Foreign Exchange gives us hope!"- King Britt "The Foreign Exchange's 'Connected' album is by far my favorite album in a long time. If they're on a mission to save Hip-Hop, the mission is a success!! This is what Hip-Hop should sound and feel like."- DJ Meddafore (Tech.Nitions) "The result is a refreshingly musical Hip-Hop record that isn't as techy as most US independent hip hop and as noodly as some European Hip-Hop. It's a perfect blend of melody, beats, quality rhymes and even sequencing. Yet another candidate for album of the year in my book."- Adam Kurzawa (Giant Step) courtesy of www.okayplayer.com Listen: The Foreign Echange - Connected (2004) // RhythmandChange.blogspot.com

Rhythm & Bullshit?

An amazing.. introspective article on contemporary R&B... EVERYONE if they haven't already.. needs to read it.... Courtesy Of : http://www.popmatters.com Rhythm and Bullshit?: The Slow Decline of R&B, Part One: Rhythm & Business, Cultural Imperialism and the Harvard Report [3 June 2005] by Mark Anthony Neal :. e-mail this article :. print this article :. comment on this article Part One | Part Two | Part Three | Epilogue Yeah, I'm nostalgic: When Mary J. Blige first uttered the opening lines to "You Remind Me," it was about making sure that hip-hop remembered that R&B came from the same streets where crackheads roamed and the same tenement vestibules where drama went down on the regular. But as I listen to Mario's "Let Me Love You" for the 727th time, it is perhaps easy to suggest that R&B has lost its Soul, or that Clear Channel, Radio One (luv ya, Cathy!), AOL-Time Warner and Viacom -- a neo-plantation cabal if ever there was one -- ripped its heart out. Hip-hop may have sold out, but at least it has sold out on its own terms. R&B, on the other hand, has sold out on somebody else's, on a pop-chart paper chase. Truth be told, U(r)sher was nothing more than a soon-past-his-peak R&B singer before John Smith laced him with some crunk junk; Ray J could have sang the hook on "Yeah" and topped the pop charts. And now, 10 million units later, we want to act like Mr. Raymond is the second coming of Michael Jackson? I ain't willing to grant him the second coming of Bobby Brown. And it is not like we even knew Mr. Legend (in his own mind) and Ms. Queen of Crunk n' B were in the room, until some hip-hop act sanctioned their presence. But what ails contemporary R&B is not just a matter of the commercial success of John Legend -- and Amerie and Ciara and Mario. The current state of R&B comes not from a sudden decline, but a process more than 30 years in the making. Does the soulless sound of contemporary R&B really have its roots in a controversial Harvard study from 1972, an alleged blueprint for the corporate theft of black culture's heritage? Or was it all Clive Davis's idea? The first of a three-part examination of how R&B became big business on the way to becoming irrelevant. This story begins in 1972, when a few enterprising master's students at the Harvard Business School prepared a study, commissioned by one of Columbia's execs, detailing how the Columbia Records Group could better integrate the then largely independent black music industry into the mix. The now infamous Harvard Report -- officially known as "A Study of the Soul Music Environment" -- has often been referred to as a sinister blueprint aimed at arming a litany of "culture bandits" with the theoretical tools to return black culture to a neo-colonial state. There's no denying that this is exactly the situation we're staring at now, but it has nothing to do with the Harvard Report. What those MBA students articulated was a no-brainer marketing plan, informed by the commercial success of Motown and the cynical (though not mistaken) view that the Civil Rights "revolution" likely had more to do with the realities that black folk had disposable income and white folk consumed a hell of a lot of black popular culture than anything to do with real structural change in American society. In response to those expecting more sinister designs in the Harvard Report, David Sanjek rhetorically chimes, "why did [Columbia] feel the need to document what they should have already known?" (Rhythm and Business, 62). What Sanjek suggests is that eventually somebody in the music industry would have come up with their own version of the Harvard Report -- say, Clive Davis, who incidentally was a president at Columbia at the time that the report was commissioned. The point is, with or without the Harvard Report, the takeover was well underway. Black music has always had a complicated relationship with big business. That this relationship has typically had little to do with actual music perhaps explains the often unbalanced quality of this thing we've come to call R&B. This complicated relationship also partly explains what exactly R&B is. The term R&B is essentially a shortened version of "Rhythm & Blues", but as a novice might discern, that which is called R&B bears little resemblance to the musical landscape created by Ruth Brown, Louis Jordan, Laverne Baker, Charles Brown and the Coasters. And perhaps that was the point. Musical innovations aside, R&B was essentially a marketing ploy that finally gained a significant foothold during the late 1970s. R&B was born out of competing logics -- record companies tried to negotiate the realities of black culture and identity within the history of race relations in America while trying at the same time to reach a wider audience of black consumers and white record buyers. As black radio needed mainstream advertisers to court the emerging black middle class (as much an ideology as a measurement of economic and social status) and mainstream record labels became fixated on crossing over black artists to white consumers, terms like Soul and Rhythm and Blues quickly became too black. The same terminology turnover occurred during the late 1970s when urban began to stand for radio stations that essentially programmed black music. As Nelson George explains, "Urban was supposedly a multicolored programming style tuned to the rhythms of America's crossfertilized big cities…. But more often, urban was black radio in disguise." (The Death of Rhythm and Blues, 159). According to the "Harvard Report" black radio was strategically important to record companies because it provided "access to large and growing record buying public, namely, the Black consumer." The report is oblivious to the fact that the very birth of what was called "race music" in the 1930s was premised on selling goods and services to a uniquely defined audience, namely African-Americans constrained by Jim Crow segregation-an audience that might even buy a record or two, in the process of buying furniture, cleaning supplies and an insurance policy. Nevertheless, the report is cognizant of the growth of an emerging black middle class, one that would prove attractive not just to record companies but also advertisers eager to fuel black desires to consume the fetishes of a post-Civil Rights world. In the aftermath of centuries of struggle, exploitation and violence, some members of the black middle class often viewed their ability to consume widely throughout mainstream society as an emblem of the "freedoms" won during the Civil Rights struggle. To get a sense of what this urbane blackness would look and feel like, think of the immensely popular early 1980s Colt 45 commercials featuring Billy Dee Williams. Twenty years later, no one really blinked an eye when poet Sonia Sanchez and Eric Benet used "smooth" R&B to hawk for an automobile maker. As R&B began to be viewed as the quintessence of upscale blackness, the more gritter aspects of black popular music --that which was, as Houston Baker Jr. describes it, "too blackly public" (as in embarrassing, like black folk eating watermelon in public) -- began to disappear from the program list of some urban radio outlets in the late 1970s. So-called Southern Soul -- the ZZ Hills, Denise LaSalles and Betty Wrights of the world -- was an example of the kind of music that vanished from urban radio. Though Southern Soul didn't disappear -- labels like Malaco and Ichiban continue to promote Southern Soul artists to this day -- the more bluesier aspects of its sound and its references to black southern culture were the very antithesis of the post-Civil Rights worldviews of many African-Americans. The popped-over P-Funk of Rick James -- one of the best selling black artists at the beginning of the post-Soul era --was emblematic of the brave new world of R&B. The challenge for record labels at this point was to come up with product to feed the R&B machine. The Harvard Report was adamant that the Columbia Records Group should not attempt to purchase any of the prominent Soul labels (Motown, Atlantic, Stax) or poach from them any of their established artists. (CRG eventually purchased Stax, but only after the label was in serious decline.) What the report did advise was that CRG cultivate relationships with small independent labels, as was the case when CRG began a relationship with Kenny Gamble and Leon Huff. The product was Philadelphia International Records (PIR), and the impact of this groundbreaking relationship continues to reverberate 33 years later. As some critics -- notably John A. Jackson in A House on Fire: The Rise and Fall of Philadelphia Soul -- have observed, many of the Harvard Report's suggestions were already in play at Columbia, and the relationship with PIR is one such example. This brings us back to Clive Davis, the point-person on both the PIR and Stax deals. Dismissed from Columbia is 1973 for financial irregularities (some have linked his dismissal to our jumble word for the day: alopya), Davis had nonetheless instigated the distribution and creative-resource relationship with PIR that would become the defining model for relationships between large corporate labels and black music, making Davis himself arguably the most prominent figure in the story of R&B. The language that the Harvard Report uses to describe the value of indie Soul labels is undisputable: "These small independents could provide a source of product, in the form of 'hot masters;' talent which could have national potential; experienced personnel…in the areas of promotion and production; and serve as a source of captive independent producers." Davis has claimed that he never read the Harvard Report, though it's clear that he would have been one of key figures that the authors of the report would have interviewed, and Davis may well have provided them with substantive info regarding the importance of indie labels. Regardless of the source, what the report details is the blueprint for the black boutique label -- essentially based on a model of neo-colonialism, where an imperialist power exploits the raw materials and talents of its satellites under the pretense that such satellites are autonomous. As Norman Kelley observes, "In classic colonialism, products were produced in raw periphery and sent back to the imperial motherland to be manufactured into commodities, then sold in metropolitan centers or back to the colonies. The outcome for the colony was stunted economic growth, as it was stripped of its ability to manufacture products for its own needs" (Rhythm and Business, 10). Looked at within the context of artistic production, the colonial model creates a context where black artistic production is mediated by a commodity culture more interested in "moving product" than cultivating art or developing artists, and then sold back to the masses as "art", in the process stunting creative development. The irony is that which could be defined as organic artistic expression is seen illegitimate by the masses, who have been programmed to accept corporate packaging as the real. Clive Davis is probably less a sinister figure in the rise and fall of R&B and more the embodiment of the corporate hustler. But there's no denying that the very blueprint he outlined at Columbia became the most bankable strategy for R&B especially as he ascended to the leadership of Arista. For example, the most significant and successful black "boutique" labels of the 1990s, LaFace and Bad Boy Entertainment, were developed in Clive Davis's house. Despite the negative impact that the corporate co-opting of black culture has on black creativity, we're still left with the brilliance of the boutique model, as witnessed by the success of PIR. It all began with the production: the simple elegance of Billy Paul's "Me and Mrs. Jones" or Harold Melvin and the Bluenotes' "If You Don't Know Me By Now" or the glossy funk of The O'Jay's "I Love Music". The "Philly sound" (include Thom Bell and Mighty Three Publishing in this mix) became the soundtrack for an upscale blackness as far removed from the plantations of the South as it was from the factories of the Midwest. Kenny Gamble and Leon Huff were the real deal, and although they were not the sole innovators of this sound -- think of the symphonic landscapes of Gene Page or the string arrangements of Paul Riser -- the promotional and distribution muscle of Columbia allowed the duo to nationalize what was essentially a regional sound. By the end of the 1970s strains of the PIR could be heard in virtually every popular R&B song. The boutique model was not necessarily about crossing R&B over to the mainstream, but rather positioning the larger corporate labels to better control the R&B market. As such, R&B artists were less compelled to compete with so-called pop artists. Although this meant that R&B artists had less access to resources -- particularly as the record industry went through a financial slump in the late 1970s -- it also created conditions where the R&B sound could develop without the additional pressure of attracting a wider audience. Very few soul artists made the transition to the R&B world. Notable examples are figures like Bobby Womack, whose Poet (1981) and Poet II (1984) represented the best work of his career and Diana Ross, whose Diana (1980), produced by Nile Rodgers and Bernard Edwards, represents the apex of her solo career. And then there's the case of Michael Jackson, who remade himself into an R&B artist on his groundbreaking Off the Wall (1979), three years after he sat at the feet of Gamble and Huff, who produced the Jackson's first CRG album after the Jackson 5's departure from Motown in 1975. Often lost in conversations about Jackson's emergence as the "King of Pop" is that he was cultivated in the R&B world -- along with such other singular black pop crossovers of the 1980s as Whitney Houston and Lionel Ritchie. If there was one figure who defined the genius of R&B it was Luther Vandross, who with the release of his eponymous debut in 1981 became the genre's dominant artist. By coyly distancing himself from the black gospel vocal tradition, which grounded so much of the soul music of the 1960s and 1970s, Vandross cemented his appeal as the quintessential R&B singer. Specifically Vandross was trying to distinguish himself from generations of "shouters" such as gospel artists Joe Ligon (lead vocalist of the Mighty Clouds of Joy) and the late Archie Brownlee (of the Five Blind Boys of Mississippi) or soul vocalists like Wilson Pickett, the late Otis Redding and James Brown. As Jason King and others have suggested, Vandross was a student of various music traditions, notably black female vocalists of the 1960s (Dionne Warwick, The Bluebelles, Aretha Franklin), the Burt Bacharach and Hal David songbook, and the background-vocal stylings of the Sweet Inspirations. In addition, the lush orchestrations that figured so prominently in Vandross ballads -- he is the definitive balladeer of the last generation of popular singers -- suggested that he too was a fan of Gamble and Huff and Gene Page. Still others such as Stephanie Mills, Frankie Beverly and Maze, Jeffrey Osborne, Anita Baker, Peobo Bryson, Atlantic Starr, Kashif, Loose Ends, Alexander O'Neal, The Whispers, Kenny "Babyface" Edmonds, and Chaka Khan (post Rufus) helped give R&B a cohesive sound in the early 1980s. As R&B was about attracting upscale "urban" audiences -- whether legitimate members of the black middle class or working class strivers -- it was by definition a genre targeted to mature audiences. As the 1980s progressed R&B was increasingly out of touch with a generation of black youth consumers, who felt little need to distance themselves from the realities of the Jim Crow era, especially as they faced down the venomous edge of the Reagan era. In real terms the R&B world was being challenged by the embryonic sounds of hip-hop for the attention (and disposable income) of "urban" audiences. A telling sign was the success of Chaka Khan's remake of Prince's "I Feel for You" (1984), which featured an opening rap by Melle Mel (technically the first hip-hop and R&B collaboration, though in my mind Jody Whatley's "Friends", which was blessed by Rakim, is more significant.) The song remains Khan's best-selling single. Khan's version of "I Feel for You" began a tenuous relationship between R&B and hip-hop, one which would finally earn hip-hop validation from the black mainstream and ultimately render R&B irrelevant. Part One | Part Two | Part Three -Trini.A.

Tyrese/Black Ty?

Ahhhhhhhhhh man I dunno what it is about R&B singers tryna become rappers.. I mean all I hear now is the crossover... Everyone from Monica, Mary J, R.Kelly, Kelis, now Cassie.. the list could go on.... But see the thing is it's not that we wouldn't like a Good R&B/Hip Hop artist.. it's just that number 1....There Are None... and how hard would it be to be credible?? as Either...?? I'm not trying to hate.. but this whole wack Tyrese thing I'm just not feelin.. and to tell you the truth.. he sounds like a HOT MESS a lot of the time to me.. with all that hootin and hollerin.. as an R&B singer alone! And now he wants to tackle Rap too?? Well actually he was a rapper before singing... (so he says) he has a mixtape previewing his CD 'Alter Ego'.... I dont have it yet though...but I do have the tracklist. Eyyyyyyyyyyyyyyyyy , You be the judge... Black Ty aka Tyrese/DJ Warrior - Best of Both Hoodz Vol. 1 CD Tracklist: 1. Black-Ty feat. Bishop Lamont & Tyrese - Fall Back 2. Black-Ty feat. Bishop Lamont & Tyrese - These Days 3. Luke And Q feat. Black-Ty - Club On Fire 4. Black-Ty feat. Bishop Lamont - Bigg Tigger Interlude/New West Order 5. Black-Ty feat. Guerilla Black - Glasses-Up 6. Black-Ty feat. Kurupt & Yoyo - I Salute 7. Black-Ty feat. Bishop Lamont - Change The World 8. Black-Ty feat. Bishop Lamont - Why You Actin Shy 9. Black-Ty - Bigg Tigg Interlude 10. Kurupt feat. Jellyroll & Black-Ty - She Like To What 11. Black-Ty - What You Made Of 12. Black-Ty feat. Lady Of Rage & Yoyo - Monster 13. Black-Ty feat. Kurupt & Ice Cube - LA Streets 14. Tyrese aka Black - Kurupt Interlude 15. Black-Ty feat. Tyrese - Emancipation 16. James Fauntleroy - Remember Me 17. Chingy feat. Tyrese - Pulling Me Back 18. Tyrese - I Aint Tryna 19. Glenn Lewis - Don't You Forget It 20. Chingy feat. Tyrese - Pulling Me Back 21. James Fauntleroy - Remember Me 22. Tyrese feat. Kim Johnson - Private Whore 23. Tyrese aka Black - Bigg Tigger Interlude 24. Dyme - Make Up 25. Tyrese aka Black - WC Interlude 26. Black-Ty - Unicorn Love 27. Tyrese aka Black - Bigg Tigger Interviews Tyrese/Black Ty Tracks // RhythmandChange Exclusives: (Right Click & 'Save-As') Tyrese - Baby Girl (Featuring Glenn Lewis)** // This ones not that bad... but Glenn's on it sooooooooooooo... Tyrese ft. Guerilla Black - Put Your Glasses On Tyrese - I Ain't Tryna Tyrese - Chapter 126 -TriniA.

Rhythm & Change Featured Artist : Megan Rochell

Rhythm & Change Featured Artist: Megan Rochell Biography From Megan Rochell's Official Website: Ever since emerging songstress Megan Rochell first soloed in the choir loft of Christ Fellowship Baptist Church at age seven, the recently signed Def Jam artist knew she wanted to be a star. "Of course I was nervous in the beginning," Megan remembers, her hundred-watt smile brightening the room. "Yet, once I felt the music touch me and God leading me, I knew at that moment what I was meant to do with my life." With the release of her dazzling debut disc You, Me & the Radio more than a decade after that memorable Sunday morning, Megan Rochell's youthful prophesies have come true. Dubbing her stellar collection of songs "a diary into a young woman's mind," the twenty year old Brooklyn native has no problems sharing her joy. "From the first moment I stepped into the studio to work on You, Me & the Radio, I felt as though I was living in a fantasy," Megan gushes. With a dream team of producers and collaborators that includes Rodney Jerkins, Fabolous, Ne-Yo, the Cornerboys, the Underdogs and Stargate, sassy Megan has every right to be excited. "Artists like Mary J. Blige, The Notorious B.I.G. and Marvin Gaye are my favorites, and it was that kind of emotional honesty I wanted for my own album." Coming on strong with her first single "The One U Need," produced by rhythmic veteran Rodney Jerkins and featuring Fabolous. "Rodney and I vibe so well in the studio," Megan says. "He is a very hands-on kind of producer who has no problems challenging me as a singer." Laced with an addictive beat and dance floor flavor, the track promises to be a breakout for the young performer. "I really feel that Rodney bought out the best in me." Born in Brooklyn to a Black mother and a Puerto Rican father, Megan was raised by her loving grandmother, whom she also credits for her success. "My grandmother was there for me when no one else was," she says. Besides making sure little Megan was in church every Sunday, grand-ma also escorted Megan to her first audition at the legendary Apollo Theatre. "I was a five-time winner at the Apollo's Amateur Night when I was eleven, and also appeared on the televised version." Performing the Monica song "Before You Walked Out of My Life" for millions, Megan says, "Just being on that stage was heaven." Moving to Philadelphia at eighteen, Megan Rochell's professional life behind the mic began with a series of chance encounters. Meeting the son of soul icon Leon Huff (of Gamble & Huff fame), Megan was soon in the studios of Philadelphia International Records, where she wrote songs and recorded demos. One afternoon, after leaving the studio, she met Boyz II Men member, Nathan Morris, while walking down South Street. "Believe it or not, I sang for him right on the sidewalk," Megan states. "His reaction was, 'Yo, you gotta let me work with you.'" After working with Nathan for several months Megan signed with his management company, "Adlib Entertainment." "From the moment you see her there's something that draws you," states Nathan Morris. "At first sight, Megan is a very beautiful young lady and you feel a very warm loving spirit that surrounds her. Then after hearing her voice, you realize that God has allowed you to be a part of something extraordinarily special." Two weeks later, Nathan set-up a meeting between Megan and Antonio "L.A." Reid, Chairman, Island Def Jam Music Group, the young songbird knew she had made the right choice. "At first I thought they were joking," she laughs. Yet, after buying a new outfit and getting her hair done, Megan Rochell went to L.A.'s office one rainy afternoon in January 2005, and won him over with a rendition of Alicia Keys's "If I Ain't Got You." After that successful audition, her fate at Def Jam was sealed. From the frenzied soul of the Cornerboys' "Outta My Mind" to chill-out cool of Stargate's smooth "Bet You Didn't Know," it's obvious that Megan Rochell is more than just another pretty face in a video. Indeed, You, Me & the Radio is just the beginning of a wonderful relationship between a talented singer and her adoring audience. >>>>>>>>>>>>>>>>>>>>>>>>> Why Does Rhythm & Change Dig Her? DEF JAM is currently doing a horrible job at promoting her.. but judging by the tracks on her PROMO.. You, Me & The Radio she's gonna have a pretty good 1st cd.. Her sound is nice.. reminiscent of Brandy sometimes and her songs are fresh..she's very current.. the only question is .. is she gonna be able to stick around? "Floating" will be her 2nd Single.. Listen Megan Rochell //RhythmandChange.blogspot.com// PROMO My picks --- 'Betcha' is on repeat Watch Megan Rochell - The One You Need (VIDEO) Visit . . . Megan Rochelle Official Website VIBE.com: Megan Rochell: NYC's Newest R&B Delegate Megan-Rochell.Org Fansite** Myspace: Megan Rochell -Trini.A.

Request

**Request** Teedra Moses - Take My Love Away ExTRa . . . . Jerome Wandz - Scream (2006) **Mixtape Track** One Chance - So Emotional One Chance - I'm Not Tryna Hurt Ya Pharrell Feat Jay-z - Young Girl/I Really Like You LOVE this track..brings me back to those 'Oh Sheila' days... -Trini.A.

Fresh AZIMIZ. . . .

Heyyyyyyyy A'ight so I've got some tracks.. some you've seen on other websites.. but I just started so gimme time to catch up... Now I'll be back later to post up that mixtape I promised... and I'm gonna post all the songs Keri Hilson has out now.. and also my Rewind track for this week... and A Scanner Darkly is out now.. ya'll should go see it.. it's CRAZYYY and it's pretty funny too.. very cool 'future' flick... and now for the . . . . NEWWWWWWWW SHITTTTTTTTTT enjoy! ;) >>>>>>>>>>>>>>>>>>>>>> Bobby Valentino - Boy Shorts (2006) // ehhhhh... i dunno but as much as i'll like a few tracks from this dude.. i dont really feel 'him' Brotha - I Want You Back //Dope chill beat... good voice. Cassie - Long Way to Go (Main) // Yahhhhhh u seen it....heard it even... it's needs a rapper though if she wants it to blow up.. but R-Les is definitely on point ... he's killin em right now Marques Houston - Favorite Girl (2006) // lemme know what you think... Diddy Feat Nicole S. (From PussyCat Dolls) - Come To Me // Wow this girl is gettin around huh....she's on every trackkkk Pharrell - How Does It Feel? (2006) // feelin this.. beat is fireeeee Kat feat Jae Millz & Shaka Dee // Oooooohhh the beat is like reggaeton and soca... very carribbean.. i dont like her voice though.. she's reppin the Dominican Republic. Sounds like the song is too low for her. and she's tryna do R&B runs and Shakira or something....odd. Brian Mcknight - I Wish it Would It Rain (Prod. by The Neptunes) // I really like this song... sounds like an older neptunes production though.. but im still likin it. Diddy Feat Black Rob & G-Dep - The Godfather // at first I wasn't sure if was new.. but I ain't heard it before... i like it though.. I can't rememeber where I got it from though.. so whoever/wherever.. thanks ! Lloyd Feat Lil Wayne - You (Remix) // Now i'm a big fan of this song.. I barely acknowledged Lloyd when he came out.. but I had the original with Tango Redd (and his wanna be T.I. verse) but it was a mixtape version.. this song samples the ever famous Spandu Ballet's "True" and it's reallllllllllllllllllllll catchy and just good.. I love Lloyd's flow on it..And wow Lil wayne is the new Fabolous of remixes huh??? Musiq - Now or Later(2006) // So i seen that new musiq joint floatin around... but i haven't litstened to it .. so this could be the same song.. but enjoy It's not.. it's new so take a listen... Jaheim Feat Ghostface & Talib Kweli - The Chosen One (Remix) // i love jaheim.. and Talib & Ghost on the same track?? whaaaa -Trini.A.

Surprise . . .

Yeah not reallllllllllllllllyyyy a surprise.. but here ya go, just a few tracks I have lying around... and yes I KNOWWWWWWWW I love me some slow jamz... but there's a lot out right now a'ightttttttttttttt Tomorrow I'm gonna post up one of my older but still good Mixtapes.....But peep that Lee Carr joint.. I'm feelin it. -------------------------------------- Paula Campell - Won't Love You Back Lil' Eddie - After All (2006) (Mario 'YellowMan" Winans protegee, I'll post more songs by him soon) Penelope Jones - Miss Me With That Foolishness (Feat Lil Wayne) Lee Carr - Act Like That (I heard he's comin out with Chris Brown??) (Off The Waist Deep Soundtrack.. the wack movie I hope NO ONE went to see lol.) -I'm Out. Trini.A.

New Banner

Yeahhhhh mannn... Thought I'd do a banner for the site.. (Dont worry I'm workin on one for ya Juicy ...) Haven't messed with Photoshop for awhile but it didn't turn out half bad right now... lol Lemme know what you think Anywayz I'll post a couple of new songz I got sent this morning... -Trini.A.

These Just In . . .

Just got these trackz.... AHHHHHHHHHHhh there's not enough time in one day to post all this ISH mannnnnn... Lemme know which trackz you're feelin .. I haven't had a chance to listen to many of em yet... Justin Timberlake Feat Clipse - Sexy Back // Ahhhhhhhhh I really really really, hated this song the first MILLION times I was forced to listen to it.. on this wack thing we call a radio station in Vancouver ( The Beat 94.5) but this old Clipse verse really ... I hate to say it.. made me wanna bob my head. I dunno about Justin.. I think he's a little self indulgent.. I mean I love Timbo.. he's a genius.. but Justin....wants to emulate Donny Hathaway (who doesn't?) I'm just sayin he's a far cry from Donny.. but begrudgingly I'm bobbin my head, and probably in a sad month or 2 I might even know the words... Tynisha Keli - I Wish You Loved Me // You know i dunno who this girl is .. but I like her.. well I like the CornerBoys' Production.... her voice is a lil too high pitched for my likin.. but I like the lyrics.. what's funny .. is that I'm a singer too. and me and my girl wrote a track REAL similar to this last year... (revision needed????? yahhhhhhhh.. I'll post it later ..) lol... anyways it's a good catchy song....and what is it with all the new artists that are tryna do BEE's runss... ??? *sigh* I guess it's the new genX. J.Holiday - Be With Me (2006) // I'm realllllllly feelin this track....I like this dude.. I have a few more tracks from him.. but this one is my fave from him... I think he sounds a lil like Musiq in his falcetto.... all these summer cruisin' jams... he's got a lil lisp I can hear in this song... (which i mention cause I have one too.. and it dont sound so bad on him.. so there's hope for me... lol) .. anywyas i like the lyrics.. there's this lil crunk sound in the back i coulda done without.. but thats hoht right now... right? Kevin Lyttle - Dance With Me Feat Trey Songz // OMGGGGGGGGGG see here's when I get excited .. when they put mah VA boy Trey Songz on a track with a SOCA artist... I'm excited about this.. now now I'm not tryna beef it up.. but it's catchy.. and I could be biased cause I luv em both... lol.. but peep this track... I could hear it in the club... Christina Aguilera - Ain't No Other Man (Remix) (Feat Ludacris) // *sigh* another person I can't help but not like.. now now.. dont' hurt me ( she's got some CRAZY fans) lol.. but I just dont like the tone quality of her voice.. it irritates me .. specially when she screams ( does she do anything else??) but no doubt she's got range and strength in her voice.. 'specially for such a tiny female.. much respect there.. but that doesn't mean she's on my mp3 player or anything... Ludacris adds a nice lil flow to this song...I actually think this song reminds me of old MJ songs.. specially the chorus.. I do my MJ dance when I hear it... LOL... "HE ..HE" Omarion - Entourage Remix ( Feat Joe Budden) // Omarion has grown up huh?? Cause this song is way outta his B2k days... his voice is still uh... 'unique'...but he does this song well.. and the addition of Joe Budden was a good choice.. cause although budden's failed to blow up.. he's sick... and this song is Off The Wall right here.. for the grown and sexy AND the young and the restless ya'lll.....

MaDDDDDD New Trackzzzzz...

A'ight soooo I decided to do a masssssssss post... to get on track cause i'm gettin new music but I still have all this other stuff I need to post too.. So no pics.... no write ups just links.. Enjoy! Massssssssssssssssssssssssss Linkzzz.. (Part 1) R&B J-Shin Feat T-Pain - Sent Me An Email Uness feat Atiba - Finally 100prcent Feat Twista - Girl Like You P.Diddy feat Lori Ann - On Something (2006) Atl - That Girl J Isaac feat Juelz - How I Roll Boxie - That Girl (2006) Brooke Hogan - About Us (Feat Paul Wall) (Hulk Hogan's Daughter..) Chelsea - Gotta Be Me (Prod. by Keith Sweat) (feelin this...) Casely - Back To Basics Cherisse - Is It You (Xzibit 'Papparrazzi' beat) Kai Holmes - Girl You Crazy Bobby Valentino - Our Love (2006 Slow Jam) Oobie feat Elephant Man - Deep Control 4th Down - The Way You Make Me Feel Ayanna - Numbers In Ya Pockets Sun-ny feat Corey Williams - BabyGirl Damien Lawson - Maybe (2006 ..Dope Slow Jam) Izzo feat Casely - Let Go (Samples Whitney's All The Man That I Need) Jeannie Ortega - Crowded (Feat Papoose) -Trini.A.