Stalley Talks Maybach Music Group, Upcoming Album

Stalley Talks Maybach Music Rumor, Upcoming Project

Posted by The Company Man on Wednesday, July 6, 2011 · 1 Comment
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Rick Ross is looking like the new 50 Cent these days. Platinum selling albums. Check. Complete mainstream radio saturation. Check. Fraudulently pimping the name of a real life gangster as his rap moniker. Check.

It’s a bit eery, really. 50 Cent broke big after pinning Ja Rule for “singing for hoes and sounding like the Cookie Monster” then bait and switched his career only to end up “singing for hoes and sounding like the Cookie Monster.” And when the smoke cleared after 5-0’s watered down one man assault on Ricky Rozay — dropping Pimpin Curly video after Pimpin Curly video complete with a Vegas romp with Ross‘ ex-Misses — ironically, “Officer Ricky” is the one still standing looking like he as an “S on his chest.”

It appears Mr. Maybach Music’s Maybach is actually bulletproof.

But what’s most interesting about Rick Ross’ recent industry domination is the diverse range of artists affiliated with his bourgeoning record label. Along with Meek Mill, Wale and Pill, Maybach Music Group raised all eyebrows with the rumor spread that Massillon, Ohio native, Stalley is also underneath the umbrella. “You know, it’s coming,” Stalley told The Well Versed at Brooklyn Bodega’s Media Day for the 2011 Brooklyn Hip-Hop Festival, confirming his pending signing. “We’re working out the paper work but it’s pretty official.”

He continued: “That’s one of the reasons why I was so comfortable going over there, because [Rick Ross] knows music and he’s a lyricist. He knows the formulas and he knows how to make great songs. We all know he’s a great beat picker. He has a great ear. And that was a compliment too, for him to come and say he was a fan of me and wanted to actually have me over there and be a part of that family was just great because I know what type of ear he has. So for him to hear me and hear that is [great]. There’s no question about it.”

READ FULL ARTICLE @THEWELLVERSED.COM

Fiddy - More Like Diddy

We knew this was coming. Many prayed for this.

In the aftermath of his 2007 sales shallacking courtesy of image antithesis, Kanye West, for the first time, “Bulletproof 50” exhibited commercial vulnerability. Not to sleep on the 691K units Curtis moved in its first week -- essentially the platinum equivalent in today’s crap-tastic retail environment -- but ironically, Fiddy’s self described “artist album” was artistically years past his prime. Clearly, Get Rich Or Die Tryin’ it was not. No need to waste words. But lyrically aspiring tracks like “A Baltimore Love Thing” or “I Don’t Need Em” on The Massacre eclipsed any semblance of artistry Curtis supposedly offered. Instead the buying public was treated to Omaha Steak-style manufactured beef and false proclamations of retirement if out sold. The gimmicks were too gimmicky, grossly outpacing the product. Curtis, at its best, was a passable LP loaded with Pop-centric guest appearances, generic bump and grind raps and gun music. At worst? At worst it represented the last grasp of commercial viability from a soon-to-be-fallen album sales titan.

That was then...

In 2009, as we all witnessed (some more jubilantly than others), Fifty’s Before I Self Destruct self destructed on the charts, moving an embarrassing 160k units in its first week, declining consistently each week after.

While the warning signs leading up to this official sales calamity were more obvious than those leading up to 9/11 -- numerous delays and rescheduled release dates, slumping music sales environment, ineffective lead single, tiring gimmicks that proved more polarizing than profitable, digital leakage a month prior to release -- the idea that Brand50 would ever produce such a meager SoundScan showing, leak or no leak, seemed more like a wish from one of his laundry list of detractors than an actual reality. 50 Cent was still 50 CENT, after all. Surely an artist that’s sold over 20 million solo albums in six years, amassing upwards of $150 million (pre recession) through diversified business ventures, and lived in Mike Tyson’s house could crack 200k in his first week. Especially if he’s tossing in a free DVD or two...Right?

CONTINUE READING @ WWW.HIPHOPDX.COM

The Tale of the Tape

The results are in: Graduation - 957k, Curtis - 691k.

So KanYeezy busts Fiddy's ass - outselling Mr. "I got shot 9 times" by nearly 300 thousand albums.


No shocker here at The Quotable.

Billed as the underdog going into this much over-hyped match-up, Kanye West snatched Hip Hop's album sales crown by a wide margin. But was Mr. West ever really the underdog?

According to My Cousin Sha; "No."

And he's right.

Although both MCs remain two of the most commercially viable artists in today's slumping Rap industry, 'Ye and 50 were at opposite ends of the bell curve once momentum is factored into the equation.

Fiddy dropped the gauntlet on the industry with Get Rich Or Die Tryin', selling over 10 million albums domestically. His follow-up Lp, The Massacre, moved over 5 million units, but was panned by critics and fans alike. Since then, his once platinum G-Unit label mates (Lloyd Banks, Young Buck, et cetera, et cetera) have received luke warm responses from critics with their sophomore albums (Rotten Apple and Buck the World, respectively) and have struggled to go Gold (500,000 units). G-Unit isn't poppin' like it was in 2004-05. Plus, with rumored dissension in the clique (5-0 allegedly cut all funding for his label mates citing an overall lack of hustle from his crew[1]) and the recent recession in the music industry as a whole, its clear the tide changed. 50 Cent's stock price was on the decline, and for the first time since GRODT dropped - Curtis has had to deal with calamity.

The exact opposite can be said for Kanye.

Since his 2004 debut, 'Ye has solidified his fan base by going left of the commercial mainstream and found success in the process. The College Dropout didn't break any sales records, but certainly left a mark on The Culture with its soulful beats and diverse subject matter. Tracks like "Jesus Walks" and "All Falls Down" were hits because they tapped into the common man psyche - discussing self-consciousness and ones relationship with God). His sophomore set, Late Registration, provided more of the same type diversity, but with improved delivery and production. The cocky Kanye West even enlisted help from Jon Brion (Fiona Apple's producer) and Adam Levine (Maroon 5 front man) along with several of Hip Hop's notables (Lupe Fiasco, Jay-Z, Paul Wall, Nas) helping expand his fan base. Moreover, his G.O.O.D. Music record label released platinum selling albums by Common and John Legend which furthered his momentum going into Graduation's release. 'Ye's stock price continued to rise because he continued to put out G.O.O.D music.

Momentum was clearly on Kanye's side going into to D-Day 9/11 and in the end he delivered a better product (see reviews for Graduation and Curtis). So it shouldn't come as a shock to anyone that 'Ye massacred Fiddy this week. Along with being a better artist, Mr. West was simply in a better position leading into the much ballyhooed release date. But as the smoke clears and the dust settles, do you want to know who the BIG winner really is in the end?

Universal Music Group[2].

Corporate America wins again.

[1] Yeah...I can't find the link right now, but I promise you I read that on one of these Hip Hop sites somewhere. Just trust me on this one. 'preciate.

[2] Universal Group is the parent company for both Def Jam and Interscope - the record labels Kanye West and 50 Cent are signed to, respectively. How you like 'dem apples?

Carry On...

The Quotable Reviews: Curtis

"You can hate this / but face it / BIG and 2Pac just ain't around" - 50 Cent: Fire; Curtis

When it comes to this rap shit, Curtis "50 Cent" Jackson has 2 defaults: love songs[1] and gun music.

All wrapped in club beats.

Since erupting on the scene with his colossal debut album Get Rich or Die Tryin' (2003), Curtis Jackson has become more Industry than Emcee. Sure, he's sold over 21 million records world wide (not to be discounted by any means), and his now infamous, one-man dismantling of Ja-Rule's rap career is forever ingrained in Hip Hop history - but his uncanny business acumen is what is most impressive about the Jamaica, Queens native. 50 Cent's name and G-Unit brand have expanded from 9s, beats and rhymes to books, movies, clothes, video games, and Vitamin Water (straight up, Formula 50 is The Company Man's favorite flavor. Pause. No brokeback). Fiddy's successfully wanksta'd his way off the block and onto Wall Street. He's the rare individual who sees the forest and the trees. He's a businessman and a Business, Man.

But is 50 Cent still an artist?

Hate it or Love it, Get Rich or Die Tryin', for all its gun-blazing bravado was one of the most artistic, angst injected, balls-to-the-wall albums since the birth of Gangsta Rap. It earnestly embodied the spirit of the hustler and made you wanna get on some ass at the same time. It was classic. It is a Classic - a perfect storm of sound, energy, and timing.

An impossible height to surpass.

50's 2005 follow-up Lp, The Massacre, underwhelmed critics but still proved to be a commercial success (to the tune of 11 million records sold worldwide). Once again using beef to fuel public interest (this time going to war with one of his own G-Unit soldiers, The Game), The Massacre showcased Fiddy falling back on the familiar (love songs[1] and gun music) while still expanding his reach as an Emcee (tracks like "In My Hood" and "Gatman and Robin" proved that 5-0 had more than one delivery in his arsenal, and "Baltimore Love Thing" (where he tells a the story of a sordid love affair between the drug and the drug addict all from the perspective of a bag of heroin) is arguably the most creative song he's ever released). The album definitely contained more good than garbage - but compared to GRODT, The Massacre was suspect. And a significant step down sonically.

Since then the music industry has fallen in the isher and even the most notable Hip Hop artists are having trouble moving units (for example, Atlanta rapper T.I. was the only the artist to go platinum through much of 2006, only to be joined by Jay-Z in November of the same year - a fact unthinkable during Hip Hop's boom of the late 90s to early 00s). Fickle rap fans aren't turning out in droves to cop the latest rap releases like they used to. Is Hip Hop's buying public famished or fatigued? Patiently waiting or worn out from the same played-out sound? Let Fiddy tell it, and they're all waiting for his third studio release, Curtis. What does he have to feed the masses? Lets take a listen.

"The old-timers told me 'slow dow.' / They shoulda known now / I wont hesitate to make shit hot." - 50 Cent: "Movin' On Up"; Curtis

Sonically and content wise, Curtis has 2 defaults: love songs[1] and gun music. The first 3 tracks on the album ("My Gun Go Off", "Man Down", and "I'll Still Kill") find the same gun-blazing bravado we've grown accustomed to from 50 over the past 4 years. The DJ Khalil produced "I'll Still Kill" is by far the freshest of the three from a production standpoint and Akon makes a notable return to his "Locked Up" days, croonin' "Fiddy don't make me ride on these n***** / cause I will kill, dip, and hide on these n*****." From there the album hits its groove with the undeniable, Audio Two sampled "I Get Money" and the head-knockin', Dr. Dre produced "Come & Go." Fiddy's lyrically at his best on the latter track spittin' "the drama I'm wit it. / I get biz, you get it? / I beez on that shit-it. / I'll splitcho wig-ig. / Thats why a n**** bit it. / I said I didn't do it. / Witnesses said I did it" while ridin' the beat to perfection.

"Lets get it poppin' shawty / we can switch positions. / From the couch to the counters in my kitchen." - 50 Cent: "Ayo Technology"; Curtis

From there its straight to the love songs. The Justin Timberlake assisted "Ayo Technology" boasts another addictive Timbaland beat (in my best Mugatu voice: Timbaland is so hot right now) and the corniest hook of the season "Ayo, I'm tired of usin' technology. / Why don't you come sit on top of me?[2]" Ghetto-pass-accredited-white-boy-number-2 Robin Thicke shows up on the smooth, 21 Questions-esque "Follow My Lead". Produced by The Bizness (who?), this track is the next song to be released, further appeasing 50's buying fan base.

The softest part of the album follows with the the base heavy yet lyrically deficient "Movin' on Up," the under performing "Straight to the Bank", and the audience-disrespecting, AKA: "Magic Stick" meets "Candy Shop" re-tread "Amusement Park." "Straight to the Bank" and "Amusement Park" are only significant because of their inability to create a buzz when initially released earlier this year - the first 50 Cent releases to prove to be commercial failures (foreshadowing?). The disappointment continues, surprisingly, on the Eminem assisted "Peep Show" - another stale, club love song. The staggered, bouncing beat keeps this track listenable, but even Marshall Mathers sounds stale - rhyming "I shouldnt have to tell you shawty you should know / I hope you're really getting into my creep show. / And let me shit on your chest and if some pee comes out / just guzzle it down. Just guzzle it down." I mean, I'm a HUGE Em fan, but he sounds like he's aiming more for shock value rather than significance.

There are a few more tracks left on Curtis (Young Buck and Tony Yayo show up here and there...and that chick from The PussyCat Dolls sings the hook on "Fire" - where I'm sure the video will be better than the actual song) but by this point in the album they all sound the same (with the exception of "All of Me" featuring Mary J. Blige; easily the best song on the Lp. Too bad its buried in the album's anus). And at 17 tracks in length, Curtis is entirely too long for its lack of diversity. Gun song. Gun song. Gun song. Gun song. Love song. Love song. Love song. Gun song. Its repetitive and severely lacking replay value. Curtis doesn't sound hungry on Curtis. He doesn't sound like he's having fun (which is probably why he looks so stressed on the album cover. Gone are the days of bullet-proof 50 standing tall "like he's got an "S" on his chest"). And unfortunately he doesn't have much left to say. At best, Curtis is a passable Lp loaded with generic love songs and gun music. At worst? At worst its the last grasp for commercial viability from a soon-to-be fallen album sales titan[3], and theres nothing any of his enlisted pop-star guest appearances (Akon, Justin Timberlake, Robin Thicke, that chick from The Pussycat Dolls, Eminem) can do to save him[4].

Man Down.

Rating: QQ


[1] Love songs = songs for the ladies. Club-ready beat optional.
[2] Really? Your tired of usin' technology? Why don't you come give me a lap dance? Word? Good thing Golden Boy Timberlake is singing that part or it would've never made it out the studio.
[3] Just watch Kanye West outsell him when tomorrow's week 1 sales report is released.
[4] I'm just glad I didn't buy this album.

Carry on...

WHO YOU GOT?

Imus Not the Real Bad Guy?

My homegirl Murda (Mary) forwarded this "long email" to me today in regards to Don Imus's recent word-vomit. Interesting read...

courtesy of KansasCity.com (please don't sue me...PUHLease don't sue me).

Imus isn’t the real bad guy
Instead of wasting time on irrelevant shock jock, black leaders need to be fighting a growing gangster culture.
By JASON WHITLOCK - Columnist

Thank you, Don Imus. You’ve given us (black people) an excuse to avoid our real problem.

You’ve given Al Sharpton and Jesse Jackson another opportunity to pretend that the old fight, which is now the safe and lucrative fight, is still the most important fight in our push for true economic and social equality.

You’ve given Vivian Stringer and Rutgers the chance to hold a nationally televised recruiting celebration expertly disguised as a news conference to respond to your poor attempt at humor.

Thank you, Don Imus. You extended Black History Month to April, and we can once again wallow in victimhood, protest like it’s 1965 and delude ourselves into believing that fixing your hatred is more necessary than eradicating our self-hatred.

The bigots win again.

While we’re fixated on a bad joke cracked by an irrelevant, bad shock jock, I’m sure at least one of the marvelous young women on the Rutgers basketball team is somewhere snapping her fingers to the beat of 50 Cent’s or Snoop Dogg’s or Young Jeezy’s latest ode glorifying nappy-headed pimps and hos.

I ain’t saying Jesse, Al and Vivian are gold-diggas, but they don’t have the heart to mount a legitimate campaign against the real black-folk killas.

It is us. At this time, we are our own worst enemies. We have allowed our youths to buy into a culture (hip hop) that has been perverted, corrupted and overtaken by prison culture. The music, attitude and behavior expressed in this culture is anti-black, anti-education, demeaning, self-destructive, pro-drug dealing and violent.

Rather than confront this heinous enemy from within, we sit back and wait for someone like Imus to have a slip of the tongue and make the mistake of repeating the things we say about ourselves.

It’s embarrassing. Dave Chappelle was offered $50 million to make racially insensitive jokes about black and white people on TV. He was hailed as a genius. Black comedians routinely crack jokes about white and black people, and we all laugh out loud.

I’m no Don Imus apologist. He and his tiny companion Mike Lupica blasted me after I fell out with ESPN. Imus is a hack.

But, in my view, he didn’t do anything outside the norm for shock jocks and comedians. He also offered an apology. That should’ve been the end of this whole affair. Instead, it’s only the beginning. It’s an opportunity for Stringer, Jackson and Sharpton to step on victim platforms and elevate themselves and their agenda$.

I watched the Rutgers news conference and was ashamed.

Martin Luther King Jr. spoke for eight minutes in 1963 at the March on Washington. At the time, black people could be lynched and denied fundamental rights with little thought. With the comments of a talk-show host most of her players had never heard of before last week serving as her excuse, Vivian Stringer rambled on for 30 minutes about the amazing season her team had.

Somehow, we’re supposed to believe that the comments of a man with virtually no connection to the sports world ruined Rutgers’ wonderful season. Had a broadcaster with credibility and a platform in the sports world uttered the words Imus did, I could understand a level of outrage.

But an hourlong press conference over a man who has already apologized, already been suspended and is already insignificant is just plain intellectually dishonest. This is opportunism. This is a distraction.

In the grand scheme, Don Imus is no threat to us in general and no threat to black women in particular. If his words are so powerful and so destructive and must be rebuked so forcefully, then what should we do about the idiot rappers on BET, MTV and every black-owned radio station in the country who use words much more powerful and much more destructive?

I don’t listen or watch Imus’ show regularly. Has he at any point glorified selling crack cocaine to black women? Has he celebrated black men shooting each other randomly? Has he suggested in any way that it’s cool to be a baby-daddy rather than a husband and a parent? Does he tell his listeners that they’re suckers for pursuing education and that they’re selling out their race if they do?

When Imus does any of that, call me and I’ll get upset. Until then, he is what he is — a washed-up shock jock who is very easy to ignore when you’re not looking to be made a victim.

No. We all know where the real battleground is. We know that the gangsta rappers and their followers in the athletic world have far bigger platforms to negatively define us than some old white man with a bad radio show. There’s no money and lots of danger in that battle, so Jesse and Al are going to sit it out.

To reach Jason Whitlock, call (816) 234-4869 or send e-mail to jwhitlock@kcstar.com. For previous columns, go to KansasCity.com

Al Sharpton / Don Imus interview:



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