Atlantic Records - Black Music Month

PLEASURE P

Merriam-Webster defines pleasure as, "a state of gratification; a source of delight or joy." Similarly singer/songwriter Marcus "Pleasure P" Cooper has composed his own unique brand of expression surrounding maturation and life lessons learned that connect to his personal joy. The Carver Ranches, Florida native and former member of the teen heartthrob group Pretty Ricky has not only grown on his journey to now, he's found more ways to connect to his source of gratification, noting that "a lot of people thought I wasn't going to amount to anything." For his Bluestar/Atlantic Records solo debut release, The Introduction of Marcus Cooper, Pleasure P is singing about just how far he has come in his 23 years of life, and why it is so important for him to keep moving forward.

It was a hard knock life for Pleasure P, raised by a single mother with no strong male figures in his life except influences from the streets. As he recalls, "All I knew was what the older cats in the hood taught me and I had a mentality that this way of life is all you get." As a teenager, whether he pursued trouble or trouble pursued him, the result was the same – music was in the foreground and background of his life, and he began to write songs that would one day become a part of his destiny.

Pleasure strongly desired to keep his life on track. Determined to not move forward with a street mentality, he followed a regular teenage regime that included attending school and even joining his high school choir. But things weren't moving fast enough, so Pleasure picked up and moved out in hot pursuit of love. The incarnation of that relationship resulted in the birth of his son when he was nineteen. It was also the period when Pleasure connected with some Miami associates named Pretty Ricky at a local talent show where the group was performing.

"I was just an eager, young guy that liked to do music," he explains. It was at that talent show that Pleasure's uncle introduced him to Pretty Ricky's manager and father, Big Blue. Pleasure talked to Blue about his music and vision as an artist. Impressed by the young man's enthusiasm, Blue gave Pleasure his card and told him to give him a call. It wasn't long before Blue had linked Pleasure up with the rest of the boys. They recorded the song "Grind With Me," and a bond was formed immediately. Pleasure P officially became a part of Pretty Ricky, and together they recorded their 2005 debut album, Bluestars, which went on to become an RIAA gold-certified album. "Grind With Me" became a national smash, hitting #7 on the Billboard Hot 100 and #2 on the Rap charts. A song Pleasure wrote as a youth, "Nothing But A Number," even made the album and was released as a single. "I was a young dude that didn't have anything. I think music changed my way of thinking and my way of life."

After the release of Pretty Ricky's sophomore album, Late Night Special, featuring the single "On the Hotline," Pleasure P and Pretty Ricky parted ways, and Pleasure moved forward performing as a solo artist on the Hypnotize Tour – featuring Plies, Lil Boosie, and Rick Ross – the only R&B artist. "You've got to create a situation for yourself, that's my motto," he says. It was then that the self-professed "new bad boy of R&B" began recording his solo debut, poised to let the world know just what Pleasure P is all about. "I'm letting the people know who I really am and where I came from. The musical content is about the experiences I've been through, and I'm in my own lane." Working with a who's who of production architects and songwriters, including Static Major, who passed in early 2008, Keith Sweat and Adonis, Pleasure P is destined to be heard.

The first single, "Did You Wrong," co-produced and written by Rex Zamor, tells a tale of taking responsibility when both parties are at fault in the relationship. The slow groove, with its kick snare drum and piano melody carefully weaved throughout, was featured on the syndicated Steve Harvey Morning Show and took off from there. As Pleasure acknowledges, "the easiest thing to do in a relationship is to leave. You gotta stick it out and work it out. How do you think your grandparents stayed together so long? In a relationship you got to put up with another person." The insightful twenty-something knows from which he speaks, because he's witnessed other relationships and had some personal experiences of his own. "I'm telling people that you shouldn't base your relationship off of people being wrong, because we're human and we make mistakes and that's the bottom line."

Quite a few tracks on Pleasure's album not only deal with relationships, but aggressive sex talk as well. Pleasure ventures off to the mellow realm, showcasing his appreciation for R&B musical classics on "Encore," a testament to his lady love deserving continuous acknowledgement. With a title like "Boyfriend #2," Pleasure P just wants to keep it real. "I am a grown man and this is what grown people do. Every relationship you break up, you make up and you lay up. I'm not trying to sugar-coat anything and be something that I'm not."

With the mid-tempo groove "Birthday Suit," Pleasure makes a special request of his woman as the music gently demonstrates, with the energy of the synthesizer and the sexiness of the bass. For no special occasion other than expressing his purest and most natural appreciation for her physical form, his desire to celebrate her silhouette every month of the year is beautifully crafted by producers The Movement. While "Under," captures another aspect of Pleasure's soaring affectionate energy with its soft piano introduction, as he admonishes "I'm a hold my breath / Until you feel it in your chest / When I go under…under."

Exuding confidence and a sense of gratification on "I'm A Beast," the song generates an all-encompassing intensity with Adonis navigating behind the boards utilizing a thumpin' bass to showcase Pleasure's own distinctive swagger.

Singer/songwriter and now entrepreneur, Pleasure puts his mark on the fashion industry as well. As co-owner of the company Jean Addicts ( HYPERLINK "http://www.jeanaddicts.com" www.jeanaddicts.com) with Cuda Love (Nelly's former manager), Pleasure continues to branch out into all facets of the entertainment and fashion industries.

Confident and comfortable, Pleasure is excited about this next phase of his life. "I put my heart and soul into this album. It's the start of a new beginning, a new legacy, a new everything, a new me. They're going get to know the real me, and they are going to like me because I just want the younger people to know you can always make something of yourself, just stick to what you're good at." Pleasure P clearly lives up to his name. Not only is he singing, but he's shining bright and full of joy, and that's like sweet music to his ears.

TREY SONGZ

Since making his recording debut in 2005, Trey Songz has patiently and artfully crafted some of the most acclaimed and compelling R&B music of the decade. His first two Songbook Entertainment/Atlantic albums, "I GOTTA MAKE IT" (2005) and "TREY DAY" (2007), yielded a trio of top ten singles, "Girl Tonight," "Last Time," and "Can't Help But Wait." And when the latter song garnered Trey a coveted Grammy nomination for Best Male R&B Vocal Performance, it marked the validation of the faith shown in Trey by the late Atlantic Records founder Ahmet Ertegun, who hailed him as one of "the most promising R&B artists we have had since we started the company 60 years ago." Now, with the 2009 release of "READY," Trey Songz is more than ready to claim his place in the pantheon of R&B greats.

"Many people tell me that I don't get my just due," says Trey. "They may know my singles, but between my records, I've also released mixtapes like ‘Swagga Like Songz' and ‘The Ladies Choice.' Now, ‘READY' embodies everything I am as an artist. Everybody can be happy with the album, from the hip-hop to the R&B crowd." "READY" draws music and lyrics from such accomplished producers and songwriters as Eric Hudson, Sean Garrett, Stargate, Bryan-Michael Cox, Soul Keys, Jermaine Dupri, Soundz, and long-time collaborator Troy Taylor.

On the album's first official single, "I Need A Girl," Stargate (Tor Erik Hermansen and Mikkel S. Eriksen) deliver their signature guitar-led production. The Norwegian-born, NYC-based pair previously worked on Trey's Grammy-nominated "Can't Help But Wait," and decided to revisit their magic on "READY." From the street single, "Brand New," to his self-described male version of Mary J. Blige's "Be Without You" in "One Love," the Virginian draws on a range of influences to craft an album that will thrill his longtime fans and happily surprise all newcomers to the Trey Songz story. Indeed, with its blend of hip-hop, R&B, and pop – exemplified by tracks like "Black Roses," where Trey croons over a distorted guitar – "READY" demonstrates his growth on every front. The third time around, Trey displays a new vocal maturity combined with his renowned ability to twist notes and keys effortlessly, while presenting an increasing breadth of subject matter.

"With every move you make you have something to prove," says Trey. "There's always room for improvement. I'm growing, as a person, as an artist, and as a man. My clothes fit differently, my braids are missing… I'm changing as a person and the music is the better for it."

Born Tremaine Aldon Neverson, Trey was raised as a military brat, with his family eventually settling in Petersburg, Virginia. Ironically, as a teen he wasn't particularly interested in singing. Only after continuous encouragement from his mother, and drawing on his grandmother's example as a devoted church choir member, Trey entered a local talent show at 14 years old. He won that competition and several more, eventually amassing 19 trophies. At 15, Trey crossed paths with producer Troy Taylor, who's worked with everyone from Boyz II Men to Lionel Richie, and Taylor immediately recognized Trey's talent.

After high school, at Taylor's invitation Trey moved to New Jersey, where he developed his vocal, writing, and production skills. Trey soon found himself driving from the Garden State across the river to New York City. As he learned to record songs, Trey completed a proverbial musical boot camp, absorbing music by artists like Prince, Marvin Gaye, and Steely Dan during his commute between the two states. To earn his keep, the Virginian worked as Taylor's vocal production assistant and transformed that experience into his debut album, "I GOTTA MAKE IT," after signing with Atlantic Records in 2003.

On the business end, Trey began his production company, Songbook, in 2004 with Taylor. The company houses several producers but Trey doesn't want to overstep his boundaries or stunt anyone else's creative growth. "We've been honing Songbook," says Trey carefully. "We make sure that we don't keep people from what they have to do. I don't want to get the talent if I don't have a place for it. A lot of people sign artists that they'll never release, just to have them. I'd rather let you find your own way."

Among Trey's numerous activities, he – along with fellow Atlantic artist Flo Rida – wrote and produced a street-smart rendition of "Jingle Bells" especially for clothing giant GAP, which proved to be a sensation during the 2008 Christmas season.

In August 2008, Trey added the philanthropic organization Songz For Peace to his repertoire, launching the charity with community activist Noonie Ward in Chicago's crime-ridden Southside before bringing his message to his native Petersburg. The youth-centered organization, which attracted 500 kids at its opening event, travels to different cities speaking to teens about the dangers of violence and life's positive opportunities. Songz for Peace is scheduled to visit several more cities across America this year, including Washington D.C., Atlanta, and Baltimore.  "The violence within the youth is rising at an alarming rate," says Trey earnestly. "I get to speak on that, and children listen to me."

Deftly balancing and separating his roles as artist, businessman, and philanthropist, Trey has delivered his best work to date with "READY." "I've always been the underdog of my class," says Trey. "But this time nothing can stop me from achieving all that I want."

MUSIQ SOULCHILD

MUSIQ SOULCHILD, raised (mostly) in PHILADELPHIA, PA., a soulstar who has developed a sound uniquely his own, by fusing together the essence of "Soul Music" with "Funk" rules and "Hip Hop" swagger, all while making his mark on the charts with his first hit single entitled "JUST FRIENDS" (SUNNY)" from his platinum DEF SOUL release "AIJUSWANASEING" (I just want to sing). And made us ponder the meaning of true affection with his second hit simply entitled "LOVE"

Following up with his sophomore album "JUSLISEN," also platinum, debuting at number 1 on the BILLBOARD TOP 200 CHARTS there was no doubt that this wasn't just another here today, gone tomorrow artist. Instead, he merely made plans to be around for the long haul. And with hit songs like "HALFCRAZY" and "DONTCHANGE" he was well on his way, and with a good start.

Staying in the game with his third release "SOULSTAR" featuring hit tunes such as "FORTHENIGHT" and "WHOKNOWS" its clear that "MUSIQ" is not only an artist of substance, but also consistency. He's been nominated by many respected institutions of the music industry including MTV, THE AMERICAN MUSIC AWARDS, NAACP, and with three albums to date has had 4 consectutive GRAMMY nominations! MUSIQ has received awards from BILLBOARD, BET, ASCAP, BMI and SOUL TRAIN and has been featured on TV & print ads along with having his music featured with major corporations such as McDONALDS, NIKE, COCA COLA, LEVIS and THE GAP. He's toured the country extensively, and is also internationally renowned for not just bringing great music, but also a great show.

Now, in his new home as an ATLANTIC RECORDS recording artist, his fourth album "LUVANMUSIQ" debut on the Billboard Top 200 Charts at 1! In 2007 "LUVANMUSIQ" has sold over 500,000 copies going GOLD and has been nominated for 3 Grammy's! The biggest single off of the album "TEACHME" was number one for 15 weeks on Billboards Urban A.C Chart.

While making plans to venture into and break new creative ground, who knows, might not be too long before you see this soulstar in a theatre near you.

JAHEIM

With his smooth, sonorous tone, Jaheim is the forerunner and torch-carrier of today's soul-originated R&B. A vocalist in the tradition of such greats as Teddy Pendergrass and Luther Vandross, he signed with former Naughty By Nature beat man Kay Gee's Devine Mill record label in 2000. Jaheim released three albums over five years: his 2001 debut, Ghetto Love; 2002's sophomore set, Still Ghetto – both of which reached RIAA platinum status; and 2006's Ghetto Classics. During that time, he also scored nominations for the BET and Soul Train Music Awards. In 2007, the chart-topping artist returns with his Atlantic Records debut, The Makings of a Man.

After taking time off following the release of Ghetto Classics, Jaheim returns with a renewed focus on the direction in which he wants to take his career. As he says, "I've been working in the studio over the past year on my milestone project, one that reflects the change and transition I've gone through." The past 12 months have been full of revelations. Jaheim has adopted a new lifestyle through healthy eating and exercise habits. He's purchased his first home. And for the first time in his life, he finds himself truly in love. That experience is documented on the album's first single, "Never." The track is a nod to the age-old adage, "You should never say never," he explains. "It's about that relationship you thought you would never find." It's also the perfect record to reintroduce the originator of the genre dubbed "thug R&B." Jaheim recalls, "After we did the song, it was incredible. As a singer, I really felt it, and to come back in the ballad mode, I'm filling that gap" left by departed pioneers like Luther Vandross, Gerald Levert, and Barry White.

A personal near-tragedy helped put things in very clear perspective for the performer, who miraculously emerged virtually unscathed from a recent car accident. "You have to evaluate yourself, and that's what I did. Being a man means to walk like Christ. You have to want that change. If you sacrifice, he'll give you everything you are looking for. When you're taken through the storm, the only thing you can do is write about it… get your pain off. So I'm going to take this story and change somebody's life. There's a song on here for everybody."

Just as his personal life has seen major changes, The Makings of a Man also marks a new phase of Jaheim's professional career. In addition to a new label home, it is notably his first project without the use of the word "ghetto" in the title. It also marks his departure from Devine Mill and is released via his own Ghetto Hoodz imprint. "We took that word and turned it around to be something colorful and positive… there is a lot of talent in the ghetto and giving back to people who never thought they would have a chance is important." Of his former musical mentor he says, "The relationship is still there and I'm still working with Kay Gee… I learned a lot from him, and I think he's one of the greatest producers." They reunite for the new disc's up-tempo "Roster."

The Makings of a Man includes tracks with some of music's heaviest hitters. Keyshia Cole turns up on "I've Changed," a ballad that also speaks to the theme of the things we do for new-found love… and to create a winning record. Jaheim explains, "We had two different opinions of how the song should go. It had already been written and normally you stick to the script. She didn't stick to the script, but I changed it because you can't always have your way."

Jaheim honors classic R&B by paying homage to two of the genre's favorites. He puts an updated spin on the Bobby Womack classic "If You Think You're Lonely" and teams with Nat Adderley Jr.,

PLIES

When it comes to hip-hop artists, Plies is the realest! After the success of his 2007 RIAA gold debut, The Real Testament, the Ft. Myers, Florida native returned a mere 10 months later with his sophomore release, The Definition of Real. Thanks to the success of his Ne-Yo-assisted #1 single, "Bust It Baby Part 2," Plies once again struck RIAA gold, selling over 500,000 copies of The Definition of Real. Now, just six short months after his last album, Plies returns with his third disc, Da REAList. "I've been blessed to be able to come back with three albums in 16 months," says Plies. "I feel like it's something that hadn't been done in the new era."

"For me to have two certified gold albums, coming from The Real Testament to Definition of Real, I feel more than excited," he says. "I think for me to be in the current space that I'm in, to be so relevant and still pushing forward with my third project is something that speaks volumes of my hustle." And his hustle has paid off. Since his debut, Plies has racked up two #1 Billboard singles (2007's RIAA platinum "Shawty" and this year's RIAA gold "Bust It Baby Part 2"), as well as top 5 (2007's RIAA gold "Hypnotized") and top 10 ("Please Excuse My Hands") hits. Even more impressive were the first-week sales numbers of Definition of Real: in just seven short days, Plies pushed over 214,000 copies of his second album, making his first-week numbers the highest in the history of his label, Slip-N-Slide Records.

Plies is set to build upon his current success with Da REAList, and if the album's first single, "Put It On Ya," is any indication, the Southern rapper is poised to pick up right where he left off. Featuring the silky R&B vocals of newcomer Chris J. (the first artist signed to Plies' Big Gates record label), "Put it On Ya" once again places Plies at the top of the pop charts and in the hearts of his female fan base, thanks to his flirtatious lyrics and infectious melodies. "I don't think there's been a situation in a while where a street ni**a has had this many devoted female supporters," says Plies.

When it comes to supplying the streets and female listeners, there is no one better than Plies. While "Put It On Ya" is burning up Top 40 radio, Plies' "Heard of Me" has become an underground favorite. On the hard-as-nails track, the rapper takes shots at the industry for overlooking his many accomplishments, rapping, "May never see me on the cover of a magazine/'Cause I ain't willin' to kiss ass to be seen," in his distinct Southern drawl. "It's a record some people may call rebellious, but it defines my current state and how I feel about my position from a music aspect," says Plies. "It's one of my most favorites that I ever done." The slow-thumping "All Black" is sure to be another street anthem; the murderous track finds Plies exploring the mind of a killer who dons an all-black outfit to conceal his identity.

Perhaps Plies' strongest quality though, is his ability to speak on the ills of his beloved community. On 2007's "100 Years" he addressed the inequalities of the judicial system, then on "Somebody (Loves You)" from The Definition of Real, Plies offered support to not only his incarcerated brothers and sisters, but for the young kids in the street who lack the proper guidance. This time out, Plies offers "Pants Hang Low," a Mannie Fresh-produced track, in which the rapper defends his right to wear his jeans below the waistline. All across the country, local laws are being passed which ban saggy pants, and while the law may seem insignificant to some, Plies sees the bigger picture. "'Pants Hang Low' is a statement record from a cultural standpoint. It means a lot to me because I understand who I am speaking for," says Plies. "I'm smart enough to understand that the rule was passed to give law enforcement a pass to get up on a ni**a. You get up on a ni**a and now it ain't about his pants no more, now he got weed in his pocket or he got dope on him or he got a pistol on him. Now that situation goes from a minute situation to a huge situation."

When you combine Plies' pop-appeal with his unwavering street credibility and then add his socio-political stance, you get the realest artist in rap. "I think you can falsify selling dope, I think you can falsify being a killer, but you can't falsify being real, because it's too many principles that come with that term," he says. So on every album he releases, Plies works the term "real" into its title. "Any project that I put out will definitely have real incorporated into the title in some shape, form, or fashion," he says. Da REAList is no different. "It's not like I woke up one morning and said let me name my album Da REAList. I think that was a title that was given to me from the streets."

Keeping in tradition, on his third album Plies is not utilizing a single rap feature, choosing to give his fans an uncompromised look. "I just personally feel like I've always been a dude that can stand on my own," he says. "To accomplish what I've accomplished, in a climate that has been the worst climate in hip-hop's history, and to not feel like I had to lean on another proven individual and get that stamp of approval, it reflects who I am as a person."

Plies also plans to release a number of underground videos for much of the album, another trend that he started with his debut in 2007. In addition to videos for "Heard of Me" and "Pants Hang Low," he will be shooting a video for the album cut, "Family Straight" – a heartfelt song about providing for loved ones. On the song's hook he raps, "Last ten years momma been workin' twice a day/Grandma on a kidney machine, she done lost all the weight/My auntie got AIDS, she startin' to lose her faith… Before ya take me God, help me get my family straight." The lyrics may be Plies' most poignant to date, even if the track isn't his most popular. "That's a record that doesn't stand a chance at radio, because the majority, they never care about the minority problems; they're gonna forever be our problems," says Plies.

Still, for all of the work that he does inside of the studio, it's the work that Plies does outside of the studio that is most impressive. Through his various charitable efforts, like The Somebody Loves You Scholarship Fund, which provides financial help to college students with incarcerated parents, or The Under My Wing Program, which lends support to misguided youths, Plies ensures that his legacy isn't merely musical. "It's important for me to find ways to be supportive, especially toward the people that need me the most," he says.

With three albums in 16 months, Plies shows no signs of slowing down; he's already planning to release his fourth, as-yet-untitled album in April 2009. "Now you see everybody coming right back out. I'm not saying I'm the reason for that, but ni**as wasn't doin' it before I started doin' it," he says. "Material-wise, I feel like I'm part of a fucked-up culture, so I don't think I'll ever run out of content." What's realer than that?

LUPE FIASCO

Hip-hop music, once a platform for creative expression and friendly competition, has, sadly, become a popularity contest. With record sales down and ringtone dollars up, rookies searching for that "one big hit" seem solely concerned with being deemed "cool." Lyrics have side-stepped, giving way to dance-instructing "rappers" more concerned with sparking the new "Macarena" than being hailed as an MC.

On the outside looking in at such followers is Lupe Fiasco. Rather than conform to music industry standards, Fiasco (born Wasalu Muhammad Jaco) has trail-blazed his own path to critical acclaim. Possessing head-spinning wordplay and a topical range more akin to the underground than the mainstream, the 25-year-old lyricist has proven that talent can still make waves in the rap game.

Born and raised in the seedy, confrontational West side of Chicago, Illinois, Fiasco grew up like the regular urban survivor. What wasn't common, however, was the means by which he carried himself. Comic books and literature of all genres cluttered his bedroom floor, and a skateboard replaced your typical drop-top Cadillac. Influenced by the Californian gangsta rap of artists such as Spice 1 and Ice Cube, Fiasco gradually grew leery of such negative messages, gravitating toward the dazzling lyricism of the likes of Nas and Jay-Z.

In 2004, Fiasco signed with Atlantic Records – even launching his own company, 1st & 15th Entertainment – and began recording his debut, Lupe Fiasco's Food & Liquor. Fiasco's first major look came on fellow Chi-town native Kanye West's hit single, "Touch The Sky," where Fiasco delivered a show-stopping verse. The buzz gained from that song transitioned the gumshoe rapper into his first official solo single, the skateboard-meets-rap gem "Kick Push." Inspired by his own quirky hobby, Fiasco delivered a metaphorical tale of uplift through the eyes of a thrashing, four-small-wheel riding skater boy.

Released to extensive critical lauding and media embrace in September of 2006, Lupe Fiasco's Food & Liquor (executive produced by good friend, and one-time mentor, Jay-Z) set the stage for a career that promises longevity. As a result, Lupe landed a remarkable three Grammy nominations – including Best Rap Album, and Best Rap Solo Performance and Best Rap Song for "Kick Push."

Now, ready to capitalize on such promise, Fiasco has returned with his second offering, Lupe Fiasco's The Cool. A largely conceptual tour-de-force, the album's title is inspired by a standout track from Fiasco's debut, a hustler-turned-zombie epic also called "The Cool." This time around, Fiasco introduces three new characters – Michael Young History (The Cool before his death), The Game (a male personification of a hustler's damaging influences), and The Streets (a female embodiment of an urban area's corrupt allure).

The potent sense of thematic execution comes across perfectly on "The Coolest," a highlight of Lupe Fiasco's The Cool that serves as a prelude to the earlier track, "The Cool." Detailing Michael Young History's fall from glory to tragedy at the hands of his lover, The Streets, Fiasco employs his unique brand of imagery: "If the rain stops and everything's dry / She would cry so I could drink the tears from her eye."

Elsewhere, Fiasco strays away from his characters to comment on his own rise to fame, an issue that clearly causes discomfort. Look no further than the first single, "Superstar," produced by Fiasco's closest collaborator, Soundtrakk, and beaming with poignant unease: "A fresh, cool young Lu / Trying to cash his microphone check, 2, 1, 2 / Wanna believe my own hype, but it's too untrue / The world brought me to my knees, what have you brung you?"

Primarily produced by Soundtrakk, and also featuring contributions from a diverse array of atypical instrumentalists (including Fall Out Boy's Patrick Stump), Lupe Fiasco's The Cool is evidence that Fiasco is anything but average. Rather than follow up a monumental '06 year – capped by his three Grammy nods, four BET Hip Hop Award nominations, and recognition as GQ's "Breakout Man of the Year," amongst other accolades – with an obvious attempt to further crossover, the young wordsmith has crafted a dense, dark, and atmospheric examination of life's pleasures. Whether negative or positive, what people consider to be "cool" ultimately dominates their every move, and Fiasco is completely aware of this.

In hip-hop's popularity contest, Lupe Fiasco is the observer, a thinking man brave enough to dictate the acute thoughts that his peers ignore. Now, that is cool.

FLORIDA

On the eve of the release of his eagerly awaited second album, Flo Rida has already made the most dominant return of any artist, ever. In just a year since his blockbuster debut, MAIL ON SUNDAY, was released, the Sunshine State rapper's new single, "Right Round," has easily made digital sales history. The single shattered the all-time one-week digital single sales record previously held by Flo Rida's own game-changing debut, "Low (feat. T-Pain)." "Right Round" sold over 636,000 downloads in its first week, also making it the highest digital single debut ever. The track also became the fastest million-selling digital song ever, reaching platinum status in just two weeks. Now it's time for the international superstar to let the world know exactly who Flo Rida is with his new album, R.O.O.T.S.

The title R.O.O.T.S. is an acronym for "Route Of Overcoming The Struggle" and was inspired by Flo Rida's 2008 trip to Africa. "I had a chance to go to Africa for the first time for the MTV Africa Music Awards," Flo Rida explains. "It was spiritual. It was amazing to see so many black people. I felt goose bumps… the fact that I'm doing something I love and it took me to this point of visiting the Mother Land. It was an amazing experience."

"At the same time," he continues, "my trip was eye-opening. I was aware of all the struggles that Africans go though, but seeing it in person was something even I could not imagine. It also made me think about my own struggles and the adversity I had to face growing up in the projects. My mother always taught me and my sisters that if you can believe it, you can achieve it. This album gives my fans a chance to know me as a person, prior to my success. With that said, I still have a lot of party joints that complement it all, making R.O.O.T.S. a well-rounded album."

Born Tramar Dillard, 29-year-old Flo Rida was raised alongside seven sisters by his single mother in one of the roughest neighborhoods in Miami – Carol City. Though his mother created a stable and nurturing environment at home, it was a challenge to escape the reality of the streets. Flo Rida's neighborhood was rich with talent but not with money. From a young age, he saw the ills of society first hand.

"Just growing up in the projects everyday, you never know when you have to lay down on the ground because they're shooting or the police swat team is on the roof or something," he explains. "My mother always instilled in us that you could be from the ghetto, but you don't have to be of it. Just about all of my friends have been to jail. But not me. Because when it came down to doing certain things, I decided to be a leader and do more positive things. I chose to stay on the right path regardless."

Music was what helped Flo Rida stay on that straight path. Growing up, he listened to all kinds of music, thanks in large part to his seven sisters, some of whom formed a local gospel group. When Flo Rida was a teenager, he began rapping with a group called the Groundhoggz. The group found local success in the late '90s, selling mixtapes and opening shows for rappers including Scarface. At 18, Flo Rida became the hype man for Fresh Kid Ice from 2 Live Crew and set out on a nationwide tour. It wasn't long before the young rapper caught the attention of DeVante Swing, formerly of the famed R&B group Jodeci. After spending a few years in Los Angeles, working with Swing but unsuccessfully finding a record deal, Flo Rida returned to Miami in late 2006 and almost immediately hooked up with Poe Boy Entertainment and its CEO, Elric "E-Class" Prince. Just months later, Flo Rida inked a deal with Atlantic Records and began working on his debut album, MAIL ON SUNDAY.

Flo Rida initially received national attention when his first monster single, "Low," exploded seemingly out of nowhere in late 2007. The T-Pain-featured cut, now 4x-platinum, was one of the most heavily rotated rap singles of 2008. Flo Rida went on to receive the People's Choice Award for "Favorite Hip-Hop Song" and an MTV Africa Music Award for "MTV Base Request," as well as landing his first two Grammy nominations for "Best Rap/Sung Collaboration" and "Best Rap Song." MAIL ON SUNDAY went on to go gold in Australia and Canada and established Flo Rida as one of the most versatile MCs to hold the mic. The worldwide embrace was the culmination of years building his skills and credibility on the underground circuit.

"I was ready for the most part," Flo Rida explains about being thrust into fame with his enormous success. "What I wasn't ready for was traveling around the world, seeing fans go crazy and just love you.

"I grew to handle it," he continues with a grin. "That's something that gives you goose bumps. You see people like Jay-Z and Lil' Wayne, and they're artists people go crazy for. When it's you, it's like ‘Wow, I came from nothing and these people really know me?'"

"I was pleased with how MAIL ON SUNDAY came out, but I've grown so much in the past year. I saw the entire world, and it's reflected in my song making. I really think people will be amazed at my versatility on R.O.O.T.S.," he explains.

"Right Round" brilliantly incorporates '80s rock group Dead or Alive's classic, "You Spin Me Round (Like A Record)," and infuses the timeless tune with an unrelenting bass thump under Flo Rida's sharp, dance-extorting rap flow. "I'm talking about the ladies around the world that have my head spinning right round," he describes of the smash hit. "It might be the girl in the club, it might be the girl in the strip club swinging on the pole. I'm talking about spending money. She's got me wanting to spend my last dollar in the club."

The second single from R.O.O.T.S. is "Sugar (feat. Wynter)." "That record has the heavy 808s in it. We used an Eiffel 65 sample. It definitely is gonna get the clubs rockin'. The girls are gonna love this record. Wynter, a new artist off of Atlantic Records, sings the hook and she's saying her lips are like sugar."

The title track is as equally melodic as it is different in subject matter. On "R.O.O.T.S.," Flo Rida describes overcoming the poverty and danger he faced as a youth to follow his dreams. "I can't hate where I'm from/'cause where I'm from made me," he triumphantly harmonizes on the track. "I came from the bottom of the slums/But now I got me."

A lady with undeniable star power appears on "Jump." Nelly Furtado sings the hook as she and Flo Rida go back and forth, commanding energy from the listener. "I'm a long-time fan of Nelly. She's so versatile. I used a whole different delivery on this one," he promises. "We're talking about different situations to get people hype in the club. ‘Jump!' Whether you're an athlete running in the stadium or you're in the club. Get hype!"

"Available" is a no-brainer smash, where you'll hear Flo Rida singing over an impregnable dance groove that samples the S.O.S. Band's "Take Your Time (Do It Right)."

Meanwhile, "Be On You" features Ne-Yo, Wyclef Jean appears on "Rewind," and Pleasure P jumps on "Shone."

"‘Shone' is short for ‘act-shone,'" Flo Rida explains. "A lot of people ask me, ‘What does that mean?' Down south, we say ‘shone' instead of ‘the jump off.' If you listen to the hook, Pleasure P is singing about a young lady who's down for whatever."

"I definitely feel blessed to have been making music for 12 years and still have a career that's so young," Flo Rida expresses. "I don't take anything for granted because my fans could be spending their money on so many other things and instead they're buying my record. I look forward to giving them hot music, consistently."

LAURA IZIBOR

"The foundation begins with soul," explains 20-year-old singer/songwriter/producer Laura Izibor of her passionate, piano-guided songs. On her forthcoming debut album, Izibor continues the lineage set out by artists like Lauryn Hill and Jill Scott; artists who combine a reverence for the traditions of early R&B with a thoroughly modern sensibility. After one listen to the powerful, honey-tinged vocals on Let The Truth Be Told, one thing is for sure. For Laura Izibor, it's got to be real.

Born to a working class family in Dublin, Ireland, Izibor admits she didn't grow up in a musical household. "My mother raised five kids on her own, so there wasn't much time to buy records – it wasn't that kind of home. I found myself fancying music at about 13." Once the love for musicians like Stevie Wonder, Candi Stanton, and Roberta Flack took hold, she was smitten for good. "One door opened to the next – first I discovered Marvin Gaye, and then Otis Redding, and I just fell in love with soul music."

At the age of 15, Izibor won a prestigious national performance competition, the "2FM Song Contest." At 17, she started work on her debut album, taking the time to really hone her songs. Let The Truth Be Told was recorded over the course of four years in a diverse range of cities: New York, Philadelphia, Atlanta, and Dublin among them. Laura also performed live constantly during this period, finding her true home onstage. Having performed several sold-out shows in Ireland, and opened for acts including James Brown, Angie Stone, and The Roots, she's earned the affectionate moniker "The Soul of Ireland" from the folks back home.

Early 2009 will reveal the fruits of this process, when Izibor releases the fully self-penned and co-produced Let The Truth Be Told. "The title felt like a strong, almost biblical statement," she explains. "I've written this album because it's my truth. It's a sincere record and it has a feel of survival in it as well." Izibor resisted the urge to feature established artists on various tracks, instead creating a revealing, and very personal, document of this moment in her life. "I didn't want to be anybody's protégé," she says. "It's very tempting to put in the reinforcements, but for my debut album I wanted it to be 100% from me."

The songs are ripe with authenticity, from the sassy, soulful album opener, "Shine," to the magnificent and deeply personal "If Tonight Is My Last," to the anthemic and inspirational "Mmm," which colored the soundtrack of Step Up 2: The Streets. With her tracks also featured on Grey's Anatomy, The Hills, and The Nanny Diaries, Izibor has found that airing her heartfelt take on life and love has translated to the hopes and struggles of various characters, as well as to the people at home watching them. "I hope people take away a sense of honesty and realness in the record. They're just songs written from a really sincere place, and hopefully people can connect to it on some level and relate their own lives to it as well."

For Izibor, the process of bringing her Truth to light has had a long gestation period, taking her around the world and back. She's poised and ready for her moment. "Life is good. Music is amazing. It's just a great, unusual thing to be doing what I love, and I'm genuinely grateful. I come from a working class family, so my bothers and sisters and my mother worked so many jobs their whole life, just trying to provide for us. That's why I'm extremely humbled and grateful to be able to do something that is not only what I love, but pretty unbelievable."

ESTELLE

Let me be different. Let me be that person that you're not used to hearing… I got to the point, between the last album and this album, where I stopped apologizing for being the person I am.  I feel I owe it to people to be 100% honest in my lyrics. I'm just satisfied with who I am, and who I'm turning out to be.

She may be a born-and-raised West London girl, but we'd venture that 27-year-old Estelle Swaray is right at home in the energy of New York, her newly adopted city. She's got the self-determination with a bit of swagger. The get-up-and-go hustle. And this is one singer/songwriter/producer/rapper who is not afraid to take risks.

The brief period since moving to NYC from London in May 2007 has been an absolute whirlwind, as Estelle gears up for her re-entry into the musical landscape with Shine, her second album. She's the first artist to release under John Legend's new Homeschool label, in partnership with Atlantic Records. It's her debut on a major label, and an American one at that, but with Homeschool's philosophy of artist control and good soul music, her affiliation with the label is at the essence of what she's all about.

"All my songs are 100% my life," says Estelle. Whereas her 2004 debut album, The 18th Day from V2 Records, was totally self-created, Shine marks the first time Estelle has brought other producers and artists into the creative process with her, and she's excited by the scope of the music that has come out of these collaborations. Kanye West, Swizz Beatz, Wyclef Jean, Will.i.am, Mark Ronson and Cee-lo & Jack Splash all lend talents to the album, executive produced by John Legend.

"Her sound is a unique blend of hip hop, pop, reggae and soul," explains Legend. "She has a special voice, unlike any other voice out there in mainstream music, and she can really write. She writes hip lyrics with unforgettable melodies. I recognized that in her when I first worked with her in 2004." He continues, "I'm excited and honored to have Estelle as the first artist on my label, Homeschool Records.  I believe the world is going to fall in love with her album, as I already have.  Estelle is an amazing talent, and she's going to do big things."

Fans of her previous songs will notice a newly bred confidence, and an unmistakable womanliness to the sound, partly because she sings more on Shine than her previous album. It was Legend who convinced Estelle that it was time to get expand her identity as a rapper by opening up and singing. "I stopped being scared," she says, and the resulting sound is more mature, soulful, and unlike anyone else on the scene.

I grew up all over West London—West Kent, Hammersmith, Shepherd's Bush—and stayed in West London my whole life. Everyone thinks I'm from South, I don't know why. I think the assumption is that South is kind of like Brooklyn, and I have that swagger. We were broke but we didn't know it—it was that kind of moment. We grew up around a lot of crazy situations, drugs and that kind of shit, but we weren't too much aware of it. My mom was good at shielding us from it.

Born into a strictly religious Senagalese/Granadan family where she was the second of eight children, Estelle learned early about responsibility for self and family, as well as how to escape life's daily pressures through music. Though her mother had banned secular music in the house, young Estelle was exposed to African music and gospel (as well as her West Indian stepfather's roots reggae and dub) via an impressive homemade soundsystem. At school, ‘80s pop was the dominant sound. It wasn't long before a teenage Estelle was sneaking out of the house to hear hip hop.

"You don't have to compromise yourself as an artist," says Estelle. "You just have to make the standard believable and relatable." While her previous successes were notable, they followed an unconventional path. She won a 2004 MOBO for "Best Newcomer" after she had already received "Best Female Artist" at the UK Hip Hop Awards three years in a row. Still, she was frustrated by what she describes as a glass ceiling in the UK urban music industry. "A lot of UK labels don't expect you to get beyond a certain point."

"There's more to life than just taking what someone gives you," she adds, a philosophy that has served her well. She moved to New York on her own initiative. Her trademark drive was also in full effect when she happened upon Kanye West outside Roscoe's House of Chicken and Waffles during a fated trip to Los Angeles. She summoned up the courage to approach the star, and request an introduction with Legend. When the two hit it off, she also pushed her label to let her to open for Legend during his European Get Lifted tour, a pairing that would continue for two years, and eventually blossom into the Homeschool deal.

My mom is African, but I still have my West Indian roots. She would make African food and listen to African music, but we still had rice and peas and reggae. So I'm able to adapt. I've spent the last five years of my life traveling, so my viewpoint is wider than the average rapper or singer. Before any deals were signed I got to go to Germany, Japan, Hong Kong, Brazil… that shaped me for what was to come.

Swizz Beatz produced the album's title track. "It's a continuation of ‘1980'," says Estelle, referencing the popular 2004 single where she rapped about growing up in London. "This is me, as plainly as I'll be. It puts a lot of insecurities out there, but at the same time I'm still going to try to be me. As much as I'm giving you that strong woman, there's still that strong woman who is pretty vulnerable, and that's pretty much everybody."

Other tracks include "Magnificent", a booming dancehall party jam produced by Mark Ronson featuring Kardinal Offishall. Ronson was impressed by the young rapper long before Shine was on the horizon. "I was in England about four years ago and caught the video for her first single ‘1980'," he says. "I went straight to the record shop two hours later with the sole intention of buying it—that's how much I was blown away by it. Estelle is such a talented singer, rapper, vocal arranger, and songwriter. I can't think of anyone else who can do all those things as well as she can. Any time that we work together in the studio, she never comes up with an idea that's uninspiring."

Sparks also flew between Estelle and HYPERLINK "http://Will.i.am/"Will.i.am when they recorded the album's first single, "Wait a Minute (Just a Touch)" anchored by an experimental spin on Screamin' Jay Hawkins' "I Put a Spell on You." The pair also came up with funk-infused "American Boy" after Legend requested "a hit." Of the song, which features Kanye West, she laughs, "I gave the ladies an anthem!"

The album's love songs, while sensual, reveal a thoughtfulness when it comes to modern day matters of the heart. "I'm a real woman. Been in relationships and been hurt, and hurt other people." When she got into the booth with Wyclef for "Substitute Lover," Estelle's answer to the shorty shout-outs dominating hip hop radio, Wyclef said he had never worked with a young artist that reminded him so much of Lauryn Hill, mostly because of Estelle's improvisational style. "I did it on a level of, let me just speak my mind, and then a lot of women out there agree with it."

My influences? Ella Fitzgerald—she's my be all and end all. Mary J. Blige, because she's a person I love to sing to. Recently, Dinah Washington. She's so cheeky in performances. I like the emotion in a lot of classic rock, Aerosmith, Guns N' Roses. Freddie Mercury—"Bohemian Rhapsody" is still classic. Put it on today and it's still an original mix of sounds.

Out in spring 2008, Shine is also an original mix of sounds. Where Senegal meets London and hops the pond. Where funk shimmies up against reggae and R&B. Somewhere out of this world is where you'll find Estelle.

T.I.

T.I. has grown to truly be one of his generation's most captivating speakers.  Whether he's conversing frankly with a room full of youth about the positive side of staying in school and following their dreams, or moving tens of thousands at one of his concerts, audiences are engrossed by the King of the South's words.  On September 30, 2008, he delivers his most potent and important LP to date, Paper Trail.

"I'm not doing too much pre-hype on the album," Tip says of his new project.  "I just want everyone to know that it's coming out, and that I'm going to answer a lot of questions in the music.  It's intense and insightful; it's gonna shake up the game and it's me at my best."

Paper Trail's title is a direct reference to T.I.'s return to literally writing down his lyrics – a practice he hasn't engaged in since his debut, I'm Serious, in 2001.  Ironically, he found that going back to the basics has helped him evolve into a better MC.

"I've had phenomenal success on my previous albums by just going into the booth, letting the music flow through me, and being spontaneous with it.  This time I wanted to try something different.  My writing is a little more structured and thought out, but it's still art at the end of the day.  It's still free-flowing." The new album's official lead single is the #1 smash "Whatever You Like," a glamorous glance into what it would be like to receive the royal treatment by the King of the South.  Produced by acclaimed hitmaker Jim Jonsin, the seductive jubilation takes us to a place where the only thing more abundant than the King of the South's endless cash flow, is his limitless flow of rhyme and melody.

"In so many of my records that I've crafted that address women, the ladies have catered to me in those songs," Tip says. "In this particular record, I wanted to show my appreciation and reverse the roles a little. I tell the females don't worry; the sky's the limit. No desire is too great. Live your fantasy." Paper Trail's first street tease, "No Matter What," is the definitive declaration of T.I.'s stance as a man undeterred and an artist unrivaled, as well as a testament to how his faith in a higher power helped him get through a very public period of turbulence in his life.

"Somehow I rise above my problems and remain here," the hip-hop veteran raps.  "Yeah, and I hope the picture painted clear./ If your heart's filled with faith then you can't fear./ Wonder how I face years and I'm still chillin'./ Easy, let go and let God deal with it."

In November of 2007, T.I. was arrested on firearms possession charges. Subsequently, he was placed under house arrest for almost seven months.  Earlier this year, Tip pleaded guilty and he faces jail next year.  He has also been ordered to serve over 1,500 hours of community service.

"Obviously that was one of the worst mistakes of my entire life, but I will not let that mistake characterize my existence or my contribution to society," says T.I.  "I cannot go back and change the past, but I can learn from it, and teach others how a poor assessment of a situation can not only affect you drastically but also impact the ones you love.  It's something that I still have to deal with."

There will never be a quandary too large to make T.I. give up hope.  The King of the South has made the pledge to himself, his family, and his fans to always hold his head high and persevere through any predicament -- whether it be persecution, prosecution, or the loss of loved ones.

Another emotive moment on Paper Trail is "My Life, Your Entertainment."  The King talks about some of the consequences of being a high-profile celebrity and candidly speaking MC.  The public gets to see both your joys and your grief played out right in front of their eyes:  "My life, your entertainment./ My sorrow, your amusement./ Laugh at my pain and anguish./ So famous I could lose it." Usher guest appears.

Paper Trail isn't a musical doctrine filled only with harrowing experiences, however.  What would a King be without celebratory anthems… especially the King of the South, who has always served anthems for the clubs and streets in addition to mindful fodder in his body of work.

Without exaggeration, "Swagger Like Us (S.L.U.)" is an historic moment not just for T.I., but for all of hip-hop. The song is a lyrical collage of metaphors, braggadocio and style painted by the foursome many have nicknamed "Rap's Olympic Dream Team": Tip, Jay-Z, Lil Wayne and the record's producer Kanye West. Each MC not only displays his distinctive cool, but each ferociously attacks the M.I.A. sampled soundscape with brash wordplay showing why they all tower over rap's most elite.

"This record is nothing short of monumental," T.I. promises. "Everyone who participated has had A-status credentials for years. It's always great when you can work with friends of yours who you socialize with outside of music. But what's greater is when all of those parties can come together to bring forth a classic caliber collaboration."

"Live Your Life" pairs T.I.'s distinguished insight and smooth-as-a-silk-Louis Vuitton pocket square-delivery with bold, but sweet harmonies of fellow Grammy Award winner Rihanna.

The roster of producers on the album includes Swizz Beatz, DJ Toomp, Drumma Boy, Danja, Just Blaze, and Justin Timberlake, among others.  T.I. recorded over 70 songs for the album before narrowing it down to the final cream of the crop.  "When I make LPs, I get into such a focus; you have to drag me out of the studio sometimes.  This is my passion."

Tip's second professional love, as a film actor, has just taken a major step forward.  He has signed a three-picture deal with Screen Gems, which will see him both acting in and producing movies.  One of the projects, Bone Deep, is a heist thriller.

"Obviously that type of deal is monumental for me and my company," the Bankhead, GA native enthuses.  "I'm learning my craft as a thespian, and I know I have so much to offer on both sides of the camera.  It's a blessing to have the opportunity to fulfill my goals in Hollywood.  This is the first of many big steps for me."

Music and movies are just the tip of T.I.'s entertainment conglomerate.  He's also expanding into comedy tours, the night club and restaurant scene, management, record producing, and fashion.

"I wake up every morning feeling in my heart that my greatest accomplishments are ahead of me," he says.  "It's the excitement that is sustained by coming up with your goals, realizing them, and then coming up with new ones."

Earlier this year, Tip found success in cyberspace, launching a social networking website called www.streetcred.com.  As 2008 progresses, T.I. continues to lend his powerful voice towards the betterment of communities across the entire country. He recently aligned himself with the Hip-Hop Caucus, an organization dedicated towards promoting voter registration and telling youth the importance of going to the polls.  The initiative targets adults between the ages of 18-29 and utilizes grassroots organizing tactics to get them to use their votes in the upcoming Presidential election.

Tip's clothing line Akoo designed the "Respect My Vote" tee-shirts that are being promoted in conjunction with the "Get Out and Vote" campaign. Akoo's hard launch happens this fall, with the apparel garnering placements in major retailers across the country. Akoo's pieces – which range from shirts to jeans – reflect Tip's diverse and lauded fashion flair.

Since 2001, T.I. has grown to become one of the most revered and successful artists in his genre, racking up millions in album sales and a myriad of awards, among them two Grammys.  In July of 2007, his conceptual masterpiece, T.I. vs T.I.P., debuted at the top of the Billboard charts, selling nearly 500,000 units in its first week of release, on its way to RIAA platinum certification.  T.I. vs T.I.P. featured guest appearances from Jay-Z, Eminem, and Wyclef Jean.  The album birthed the smash single, "Big Things Poppin' (Do It)," which was also featured in an ESPN ad campaign.

In 2006, T.I. – known in Hollywood as Clifford "Tip" Harris – made his critically acclaimed star turn as the leading actor in the coming of age film, ATL.  He followed up that role by acting alongside Oscar winners Denzel Washington and Ruby Dee in the blockbuster drama, American Gangster.  In 2009, Harris will be tackling television with an inspirational reality show airing on MTV.  The yet-to-be-titled show will center on his life on probation in the year leading up to his impending year-long jail sentence.

But first up, it's Paper Trail, the latest chapter in the extraordinary story of T.I.

MISSY ELLIOTT

Missy Elliott is undisputedly one of the most prominent female artists in contemporary music. For the five-time Grammy Award winner, Missy's latest feat, The Cookbook, is simply another notch in the belt of a woman who has defied all traditional notions in the entertainment industry. When asked to describe her new release in three words or less the music maven candidly spits "no artificial flavor." Hence, the thinking behind the title The Cookbook, Missy's sixth effort in a series of undeniably groundbreaking, multi-platinum CD's. The Cookbook, a feast of tantalizing songs, is an all-natural collection of musical recipes guaranteed to feed the mind and energize the body.

While each and every one of Missy's previous CD's (Supa Dupa Fly, 1997; Da Real World, 1999; Miss E. So Addictive, 2001; Under Construction, 2002; This Is Not A Test, 2003) produced smash singles that catapulted her career beyond superstar status, The Cookbook is a work of pure artistic innovation. "Finding that in-between space of not giving people too far left and not too far right was a challenge for me," says Missy of this new effort. A fusion of inventive instrumentals, dynamic and diverse deliveries, and creatively constructed musical movements, as opposed to mere songs, the Virginia native continues into her trademark uncharted territory.

"On & On" finds Missy and Pharell of the Neptunes teaming up for a fresh throwback tune that effortlessly juxtaposes old school rhythms with new school flair. "Back then, the rapping style wasn't as deep. It was very simple," Missy declares. "People could catch on with all the spaces and breaks between the raps and that's basically what I did on this song." In the vein of a Roxanne Shante style flow, Missy honors the original art of hip-hop lyrical delivery.

Meanwhile, the Missy-produced lead single, "Lose Control," reigns as the quintessential party track. Missy's rap bravado slices through the up-tempo anthem while Ciara lends her signature smooth vocals and tries her hand at a quick rhyme. Fat Man Scoop brings it all home with his signature jam-jumping adlibs.

Missy continues to stir up flavorful tunes like "Irresistible Delicious," which features English transport, the seminal Slick Rick. On this adventure, using a sample from Rick's original "Lick The Balls" track, the two sing and rhyme over an alternating R&B melody and hip-hop break beat. Missy's sensual vocals over this groove-laden track end with horn riffs and stand out DJ scratching. As a fan of artists who have been holding it down from the early days, Missy makes no bones about calling on some of the industry's most remarkable talent.

Missy takes her boldest step yet on The Cookbook, getting more intimate with her fans by providing insight into her personal life. "'My Struggles' is a record close to me," the artist divulges. "On this record I'm talking about what my home was like with my father being abusive to my mother. I wasn't born into being a superstar, I went through a lot and when I heard the track it brought me back to Grand Puba and Mary J. Blige on What's the 411?" It only made sense that Puba and the queen of hip-hop soul should lend their strengths to this truly unique track with a pronounced and definitive bass line produced by Qur'an.

For another turn, Missy teams up with American Idol starlet Fantasia on the heartfelt "4 My Man," a salute to great mates. "I so enjoyed working with her. She's one of the most incredible voices I've heard in a long time," says Missy. "As soon as I did the record I knew it was for her."

Throughout The Cookbook, Missy not only indulges the listener with delectable delights, she stirs in the work of newer yet seasoned producers. "Mommy," produced by 3Play, is a song which ingeniously incorporates a horn intermission, a piano interpolation, scratching, harp instrumentals and chirping. Missy rhymes swiftly over the track with an uncanny variation of vocal pitch. "Mommy," which means female boss, is just one of the many savory treats that Missy cooks up for this CD.

In tradition, the Supa Dupa Fly one brings it home to her long time hit-making partner Timbaland. "It gets a little harder for the both of us because the pressure is on from the previous album. This time I decided to get other producers to give a different vibe, but at the same time I check in with him. His involvement is still there," Missy affirms. A chef in his own right, Timbaland turns up the heat on tracks like "Joy," which features Houston rap phenom Mike Jones, and the percolating "Partytime."

The Cookbook is an organically healthy and appetizing full-course musical meal. It's fitting for a star whose history includes seventeen MTV Award nominations (including one win for the coveted "Video Of the Year"), five Grammy Awards, three consecutive BET Awards, five Lady of Soul/Soul Train Awards, national ad campaigns with The Gap, MAC Cosmetics and Vanilla Coke, and a successful television show, "The Road to Stardom With Missy Elliott." Missy Elliott is not merely an inventive recording artist and performer; she is one of few women who enjoy an equal amount of success behind the scenes as a prophetic songwriter and producer, having acquired a star-studded list of production credits that includes Whitney Houston, Janet Jackson, Christina Aguilera, Justin Timberlake, and Destiny's Child, among others. As the head of her own record label, The Goldmind, Inc., Missy launched the successful career of platinum-selling R&B star Tweet. In addition to all of this, Missy has created a unique joint venture with renowned athletic company Adidas for a line of clothing, shoes, and accessories under the moniker, Respect Me.

Recognized as the best selling female hip-hop artist of all time, this quadruple threat - a writer, singer, lyricist, and producer - will undoubtedly whet the appetite of all with her delicious new CD, The Cookbook. "Each record has its own herbs and spices. Whether I listened to my previous albums, rock, alternative, hip-hop or soul records from Chaka Khan, it's all mixed in there." Bon Appetit!

MAINO

Ever notice that when you listen to New York radio the rotation of rappers you're listening to hasn't changed since the year 2002? The airwaves are still dominated by Jay-Z, Nas, Diddy, 50 Cent, Dip Set, and Fat Joe, just to name a few. Meanwhile, the Big Apple is stuck in a rut of monotony, and most New Yorkers are convinced that the game isn't what it used to be. But maybe the game isn't the issue at all – perhaps it's the players. It's time for some new blood. Time for the emergence of fresh talent to identify with a new era of hip-hop fans. It's time for Maino.

Having used the mixtape circuit to cull a strong following, Brooklyn, NY native Maino is no longer his borough's best-kept secret. The swagger-rich MC is now in a position to present a brand new look to hip-hop with his debut Atlantic album, If Tomorrow Comes… "I don't want to say let's bring New York back, but let's bring New York forward," he says. "And the only way to bring it forward is to breathe new life into it. That's how you keep hip-hop alive, you give birth to the new. I want to be the one bringing that new life." Surely bold proclamations from rappers are nothing new, but with Maino it's his captivating approach that's refreshing. "I'm not trying to be the next anybody," he says. "I can't do what Jay-Z does. I can't do what Diddy, 50, or Wayne can do. I can't do what Big or Pac did. I can only be me and master what I do."

And what Maino does is blend gritty lyricism with riveting street flair, combined with a magnetic confidence that's both hard enough for the fellas and appealing to the ladies. It's a proven formula that all the greats utilize, and it has come through in his music, starting with buzzworthy mixtape joints like "Rumors," "All Eyez On Me," and "The Diary." "I come to the people as one of them," he says. "I'm not Hollywood. I'm coming from the ground up, trying to get to the top."

Able to overcome a daunting ten-year incarceration, Jermaine "Maino" Coleman made the transition from nobody to somebody look relatively easy. However, the journey was anything but trouble-free. Raised in the heart of Bed-Stuy Brooklyn –Nostrand Ave to be exact – Maino developed an affinity for hip-hop during the genre's classic '88 era. Legends such as Rakim, KRS-One, and Brooklyn's own Big Daddy Kane were some of his early inspirations. In fact, Maino's fondest memories were the late-night radio mix shows that he'd record. "I'd make my lil' tapes so I could have something to play for me and my friends," he recalls. "I wasn't really writing rhymes yet; I was doing it because I was such a fan."

Unfortunately, for Maino the golden era of hip-hop coincided with the crack epidemic in America's urban communities. Music was unable to shield the tough Brooklyn kid from the effects of the plague. As a youngster he saw both his parents succumb to drug addictions. "I watched my dad go from being a good father to a fiend," he says. "My mom developed her own little habit, but she never let herself get to the point where she was in the streets." Barely a teenager, Maino was forced to fend for himself and his younger brother. Committing petty crimes became a means of survival, which snowballed into bigger problems. By the early 90's Maino found himself in the middle of a "drug related kidnapping," that led to a 5-to-15 years prison sentence. "We didn't really know what we were doing," he recalls. "We had a great idea, I guess, but we wound up getting caught."

During his decade-long prison term Maino caught the emcee bug as a result of boredom. "I'd be in the box for twenty-three hours a day," he recalls. "I just started rapping as something to do. I feel like hip-hop kept me alive." While listening to DJ Clue mixtapes featuring some of "Brooklyn's Finest" – Notorious B.I.G, Jay-Z, Lil' Kim – the vibe only got stronger. Maino adopted the "no writing" technique of emceeing. "I was never comfortable writing my raps down." Upon his release in 2003, Maino immediately launched Hustle Hard Entertainment. A chance meeting with DJ Kay Slay that year led to Maino's first appearance on the radio. "It's been a helluva fight," he says. "I went through every step a rapper could take to build his name up, and that was the first."

From the radio appearance and through pure hustler's ambition Maino garnered a ground swell of attention through various mixtape appearances. However, it was an unforgettable appearance on the Smack DVD Vol. 12 that put him on the map for good. Dubbing himself "Brooklyn's Future," the determined upstart proved he wasn't afraid to put his neck on the line to get results – or a nice buzz. Armed with a label deal from Universal, and a show-stealing effort on Lil' Kim's "Gimme That," Maino added to his rapidly rising appeal. Unfortunately he soon learned the price of being on a label that wasn't quite sure how to push "New York rap" during the height of the South's dominance. Maino and Universal split in 2007, and just like that he was back to square one. But with a drive as aggressive as his music and with a vital ally in T.I. – who saw some of himself in the self-assured New York rapper – Maino quickly inked a deal with Atlantic Records. "Universal was on the job training," says Maino. "I appreciated the opportunity, being signed at a time when New York rappers weren't really getting deals, but being at Atlantic I feel like I can go to another level."

Before Maino gets his opportunity to ascend to hip-hop's elite echelon, If Tomorrow Comes… is going to have to acquaint him with the masses that might not be familiar with the hard work he put in under the radar. And he's already begun the process with the hard-charging "Be Me." Not an official single, the Nard & B produced track is a fitting introduction to a rapper who's been known to attract some controversy every now and then. "I don't want to scare the money away," says Maino. "But I'm not about to shy away from who I am. And this record speaks to that."

You can expect more of the same unadulterated candor throughout If Tomorrow Comes… It doesn't get any more straightforward than the Alex Da Kid-produced "Role Model." Toying with the staccato flow made popular by Brooklyn rapper Smooth Da Hustler, Maino offers a disclaimer to fans of all ages: "I'm bad company; don't look up to me."

As unruly as that may sound, one listen to the vibrant clubbanger "Hi Hater," and you'll see why it's easy to root for the bad guy. Produced by newbie Mr. Raja and Maino, with a classic Jimmy Spicer sample (most recently made popular via Mary J. Blige's "Be Happy" remix), the track is the quintessential anthem that'll help Maino crack the repetitive rotation on hip-hop radio. "You got to make records that compete," he says. "I see what I have going on as a movement. This is the type of song that pushes a movement ahead."

To ensure that Maino makes a serious push to become the "new life" in hip-hop, If Tomorrow Comes… is stacked with a broad spectrum of bangers. From the raunchy southern-tinged bounce of "Dump Dick" to the introspective "Back 2 Life," Maino piques your intrigue on many levels. Along with collaborations with B.G., T.I., and Cool & Dre, Maino's debut leaves an indelible mark on first impression. "Nothing can compare to what I've been through," he says. "Dudes in jail used to tell me ‘when you get your shot make it work.' Now that I got it, I want to make it work." And for our sake, if it does, what we hear on the radio won't be more of the same. It'll be something new.

SEAN PAUL

Sean Paul's back, and he's about to bring the heat this summer. The Jamaican dancehall superstar first sparked the world in 2002 with his breakout hit, "Gimme The Light," and the fire has been burning brightly ever since. Hot on the heels of his multi-platinum, Grammy-winning classic album, Dutty Rock, he dropped the 2005 RIAA platinum smash The Trinity. That album led off with the Top 10 single "We Be Burnin'," followed by the #1 smash "Temperature." Now Sean Paul is stoking the flames once more with his highly anticipated fourth album, Imperial Blaze.

The Kingston-born rhyme slinger has already sold more than 10 million albums worldwide, and has become the most successful Jamaican artist of all time on the U.S. charts – spurred by a trio of #1 pop singles, and five top ten hits. But despite his scorching track record, Sean Paul is taking nothing for granted. "Imperial Blaze is like the king's fire," says the keeper of dancehall's flame. "It's all about going hard and keeping it hot." Case in point: the album's infectious lead single, "So Fine," which blends irresistible harmonies and rapid-fire lyrics with a futuristic backdrop of digital percussion.

A lot of artists talk about "staying on the grind," but few work harder than Sean Paul. He has done more than any other dancehall artist to bring the hardcore sound of Kingston to new audiences around the world. Since his prophetically titled 2000 debut, Stage One, Sean Paul has proven time and again that modern Jamaican reggae can be a viable genre in the international music market. But the explosive energy of Imperial Blaze indicates that he's only getting started.

"In this business, they say you're only as good as your last hit," says the man who beat out Kanye West and Nick Lachey to win the American Music Award for Favorite Pop/Rock Male Artist in 2006. "They say you've got to prove yourself all over again every time you come back, so here we come."

More than just proving Sean's staying power, Imperial Blaze represents his evolution from a Jamaican crossover star into a bona fide pop hitmaker with a rare gift for bringing cutting-edge sounds to an international following. "My first album was mainly a compilation of songs that were out in the dancehall," he explains. "On the second album we added a few special ones, and with The Trinity we did even more exclusive songs. But now with Imperial Blaze, most of them were recorded specially for this album. It's all about my growth as an artist."

One thing that hasn't changed is Sean's determination to showcase the talents of Jamaica's hottest young producers. "We have worked with other producers in the past," he says. "I have no problem working with any big hip-hop or dance music producer who wants me to spit on their track. But I'm not trying to ride on anybody else's genre. When it comes to my album, you're gonna hear the new kids from Jamaica."

The production credits on Imperial Blaze read like a who's who of dancehall trackmasters, from Don Corleone to Craig "Leftside" Parkes (son of legendary Jamaican bandleader Lloyd Parkes), to Jeremy Harding (who doubles as Sean's manager), to Arif Cooper (son of Ibo Cooper from the famed reggae band Third World) to Delano of Renaissance Disco and even Sean's own brother, Jazon "Jigzagula" Henriques of Coppershot Sound. And for the first time, Sean himself produced a track on the album entitled "I Know You Like It." But nearly half the album's 19 tracks were produced by the 19-year old Stephen "Di Genius" McGregor, whose Big Ship/Di Genius Records label has dominated the dancehall scene for the past year.

"I first met Stephen when he was like eight years old and I was in my 20s," Sean reveals. "His father Freddie McGregor is a king of reggae music, so Stephen was born into this. Now he's running the place, and the chemistry we have is something special. When you find someone who gets you as an artist, you can really push yourself and take it to a different place."

The songwriting on Imperial Blaze represents a giant leap forward in Sean Paul's artistry. "There's plenty of party tracks, but we're not just singing about the same old thing," he explains. High-energy cuts like "Lace It" on McGregor's Daybreak riddim are already sparking the worldwide dancehall circuit, but other cuts find Sean in a more reflective mode. "My music has reached the point where it's expanding," he says. "I'm talking about relationships and different things we all go through in life." Not only has the subject matter evolved, but vocally Sean's experimenting with different melodies and harmonies to create a richer new sound.

Sean wrote a tribute to his mother, entitled "Straight From My Heart," for her birthday, and the depth of his emotions can be heard in every line. "That felt so good it should have been the first song I ever recorded," says Sean. "Music is supposed to be for celebration, and who better to celebrate than the woman who gave me life?" The haunting hook from "Hold My Hand" represents another artistic breakthrough, what may be his first-ever dancehall ballad.

While Sean has a long history of recording hit duets – including the recent remix of Estelle's "Come on Over," preceded by "Give It Up To Me" with Keyshia Cole, "Break It Off" with Rihanna, "Baby Boy" with Beyoncé, and "Give It to You Girl" with Eve – the new album does not rely on guest appearances. "I always think it's funny when people ask, ‘Who's on your new album?'" says Sean with a grin. "It's my album, you know?"

Although he has collaborated with hip-hop stars like 50 Cent, The Clipse, and Busta Rhymes in the past, Sean Paul's main emphasis is on his own sound. "Dancehall is the most underground music in the world and our artists are most misrepresented. But we're gonna do it star. We're gonna show people. And even though we've done it time and time again, some people still act like they don't want to give reggae music a try. But this music is big in all corners now. So all I'm saying is show some respect."

After tasting fame and fortune, Sean Paul is more concerned than ever with his musical legacy. "When I look back on some great artists over the years," he reflects, "you look at some man like Bob Marley and even Shabba Ranks and Super Cat. When you check back over their career, you see all that they accomplished and say, ‘Yo – what a work them do!' Them thing deh really make you wanna enjoy this time while you have it – just make the most of it while the sun is shining. Do as much as we can."

"As I have said before, there are many types of dancehall," Sean Paul emphasizes. "We have music that can express everything that a human being can feel, more time in a raw way and sometimes in a very soft and seductive way. That's why I love this art form. And I'm ready to do it again, star. We're coming with something original. It have to sound fresh and new. Don't sound like you're copying over and over. Sound like the next thing. Watch we!"

YOUNG STEFF

Every so often, an artist comes along who exceeds your expectations. Someone who, upon that first listen, makes you feel privy to some well-kept secret – a name attached to a voice that, unbeknownst to most, will become a constant presence. For R&B newcomer Young Steff, that time is now. So as you go through the elements that comprise his story, keep in mind the words of Rich Harrison, who put it ever so succinctly, "Talent isn't always a pre-requisite for a superstar." Steff, as you're about to witness, is the exception.

The Voice Born Stephen Goldsboro, just outside of Philly in Vineland, New Jersey, Young Steff inherited the ability to hit certain notes and win over crowds from his father, a dedicated gospel performer. By the tender age of eight, Steff had already begun to experience life in the spotlight and on the road, traveling with and crooning alongside his father's group, Spirit. "It was a blessing to be able to learn from him," says Steff of his mentor, who has guided his now 18-year-old son through the intricacies of the music industry. "I could do a thousand riffs and it wouldn't mean much, but if I can hit a note and touch your heart, or say one word and make you feel it, then that's when I know I'm doing my job."

Whether it's a pitch-perfect falsetto, or a display of heartfelt melisma, Steff not only gets the job done, but he also conjures up both the understated elegance and innocence of an era long gone (think a young Michael Jackson) as well as the youthful sheen and swagger of contemporaries like Usher Raymond. And yet, upon listening to Steff tell his own stories through music, you get the feeling he'll make a mark all his own.

Hunger In an era of pre-packaged phenoms, hunger is a rarity, but as Young Steff will tell you, it's hunger that has gotten him this far, and hunger that will keep him here for the long run. For Steff, who used to win talent shows left and right – including the McDonald's "It's Showtime At the Apollo" Kids Talent competition in Philadelphia – the path to success should have been relatively straightforward, especially once his demo landed in the hands of then Roc-A-Fella Records execs Jay-Z and Damon Dash. So although a 12-year-old Steff ended up signing with the Roc, and even scored a hit with "Can I Holla" featuring Bow Wow, when Dash and Jay-Z parted ways he was forced to make the most important decision of his young life: either stay with Dash as he launched a new venture, or venture off himself.

With the support of his father, Steff decided to take road less traveled and become a free agent. As fate would have it, that choice led them to producer-turned-label-founder Rich Harrison. Having heard of Harrison through hits like Beyoncé's Grammy Award-winning "Crazy In Love," Amerie's "1 Thing," and Jennifer Lopez's "Get Right," Steff knew this could be an opportunity to bring something fresh to a genre that some would argue is reaching a stale point. The feeling was mutual, and upon meeting Steff for an impromptu audition, dancers in tow, Harrison offered to sign the dynamic young performer to his burgeoning Richcraft Inc. label through Atlantic Records. "I wanted someone I could be personal with," says Steff of Harrison. "Because the more personal the producer and the record company, the better the records. And I wanted it to be special this time around. I wanted it to be a sure thing."

Range
The beauty of Steff's debut lies in its dimensions. On the explosive warm-up single, "Put That On Everything," a Harrison masterpiece with a daring use of staccato drums and playful horn blips, Steff's vocals show incredible muscle, flexing and bending like the instruments themselves and driving the momentum of the delightfully frenzied track. "The song is just so different from everything that's going on right now," says Steff. "And I knew that in order to make an impression, it had to be something fresh."

Also fresh is the heavy-hitting "Feeling Myself," on which Steff's lithe voice slinks over an ominous Harrison bass, giving way to a sexy groove. Steff also showcases his confidence and street-influenced swagger with "Dat Gurl Right Der," another Rich Harrison concoction.

Steff sounds just as comfortable on the album's experimental and up-tempo tracks as he does on classic ballads like "If You Let Me," produced by Bryan Michael Cox (Mariah Carey, Usher, Mary J. Blige). On the latter, Steff convincingly makes a case for why a certain older lady should give him a chance in love. As for the anthemic "Take It Or Leave It," Steff sounds like he's been singing in a cool, confident falsetto for years.

Imagination
Steff has been writing his own material since he was 11, so it's no surprise that he showcases some of his own colorful verses. On "Hallway," for instance, he pours his heart out:

When I'm supposed to do my homework, I'm thinking about you How you're so beautiful and brand new And I know all the other guys want ya But I wanna be the one who's gonna getcha Don't even care about when I'm acting out Steady trying to impress you And when I'm with my boys just hanging out You're all I can think about

Character
While most young performers today seem stiffly choreographed, Steff brings his own street dancing persona to the stage. In fact, for the club-ready track "Wu Krump," Steff actually created his own dance. "I took the Wu Tang dance from Philly and Krumping from Cali, and made up this new dance," says Steff, who continues to be his own choreographer.

The Whole Package
After one listen, it's clear what Young Steff has to offer. Which is why Harrison has reason to gush: "Young Steff is that rare combination of a shining stage presence and charismatic personality, together with a truly unique voice. This alone makes him competitive on a world-class level."