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hip hop producers

0 1816, a music licensing platform specialized in urban, pop and hip hop production music, unveiled its new website and updated its production music catalog with several new instrumentals.

“Over the last year we have established a strong line-up of talented producers, composing beats and instrumentals of outstanding quality. Working in partnership with these talented guys has meant that we have been much more effective at sourcing a broad collection of instrumentals of all genres.” says Tobias Großer, Founder of

“The big difference between and other existing music licensing platforms is our aim to address artists looking for instrumentals to create songs. Other production libraries focus on video editors or media producers in search of royalty free music to use as background music in their projects. Since the beginning of this year, we licensed our beats to several artists from all over the world, who were in search of quality production music but couldn’t find a solution that met their requirements. This shows that our decision to enter this market was right, although the business model is not entirely new and the production music market is dominated by a few big players. Even if the core model is the same we don’t think that we are competing with the industry leaders but target a different market of singers, rappers and musicians.” makes it easy to license quality beats and instrumentals online. Artist can browse through the instrumentals by genre or producer and download the beat instantly after purchase:

“As we’ve automated the licensing process, artists can just browse through our catalog of beats, listen to the previews and simply choose the beats they would like to license. After the order has been placed, the artist immediately receives an email including the login details to download the beats from our site. The entire process only takes a few minutes and makes music licensing fast, secure and easy.” aims to become the largest archive of urban production music and royalty free beats in the world.

Since 2010, has been providing instrumentals and beats to artists and musicians worldwide. The company was created to enable independent artists to license beats and instrumentals for their musical projects like mixtapes, demo CDs or music videos. Within last 2 years the company has established itself as a leading provider of quality urban and pop instrumentals in the music licensing business.

For more information about, visit

Many may take offense to my specification of black radio and music so let me first quickly explain my case.

When one thinks of Black radio, one names R&B and Hip Hop as the only two genres representing black music. Rock, pop, country, and to a much lesser extent blues (a case can be made for blues but I’ll concede for the sake of length)–none of these genres have a black face. Sure in pop, country and blues there are black entertainers but it is not popularly accepted as “Black music.” R&B and Hip Hop are the only two safe genres that can be popularly accepted as black music.

I am ecstatic the world has woke up to the Hip Hop producer turned jazz pianist Robert Glasper. Glasper is from Houston and I first heard him on YouTube (of course) three years ago. My former drum teacher introduced me to the skillful, now one of my favorites, Chris ‘Daddy’ Dave who regularly performed with the Robert Glasper Trio along with bassist Derrick Hodge. Dave possesses a crazy feel and a keen sense of time. He once said in a Vater interview, “I don’t like the way I sound on toms…” so he surrounded himself with snares (he used toms with Mint Condition and Kenny Garret. I am not sure when he stopped playing with toms) thus satisfying his “fetish.” Hodge has performed and recorded with Maxwell, Common, Jill Scott, Anthony McClurkin, and many other entertainers.

Damion Reid was the recording drummer for the second and third Robert Glasper Trio album, bassist Vicente Archer accompanied the two and recorded with Dave,on “Double-Booked,” the Trio’s previous album.

Bred by JDilla and Questlove, Glasper’s sound has always been the soul of true Hip Hop. Glasper frequently honors the great Thelonious Monk and one of his most popular songs is the “Everything Is In Its Right Place,” an original by Radiohead. Different genres comprise of Glasper’s sound but he maintains that jazzy epidermis. The Robert Glasper Experiment, with Hodge on bass and Casey Benjamin on synthesizer, played an intimate and animated show featuring Lupe Fiasco and Kanye West. The fan’s intensity proved we are returning back to the soul, simplicity and beauty of Hip Hop; the substance, discipline, and message in Hip Hop.

Last week the experiment performed on the David Letterman show promoting their new album, suitably named Black Radio. It was excellent to see Bilal on stage again displaying his jazzy vocals. Unfortunately ‘Daddy’ Dave wasn’t on the drums but Derrick Hodge was still on the 6-string bass.
The relationship between jazz and Hip Hop is nothing new, though. Miles Davis recorded Doo Bop; A Tribe Called Quest is obviously influenced by jazz and even recorded with famed bassist Ron Carter on The Low End Theory. Digable Planets, The Fugees, Jay-Z and countless others sampled Jazz which was heavily used during the early 90’s in hip hop.

Whatever Glasper’s goal may be, maybe Black Radio is setting the tone for the future urban radio; for 2012 and beyond. Is it possible? Meh. Maybe somewhere in the future. Far future. Fortunately, Glasper is already in the future. His music is ahead of its time. Black Radio, along with his previous works, deserves to be the face of Hip Hop. In my opinion.

Black Radio features Erykah Badu, Bilal, Stokely (of Mint Condition) Chrisette Michelle, Musiq Soulchild and others. If you appreciate quality music, vote with your dollars and help re-define Hip Hop.

“these are only my opinions”

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A few weeks ago, I had a chance to visit with Amani K. Smith and Gary ‘G-Wiz’ of Urban Score Productions in Los Angeles. Urban Score has been in music industry since the late 80’s working with icons like RUN DMC, Method Man and Redman as well as Public Enemy.

In addition, the duo has worked on countless television and film projects together. I met Amani through one of my ex-girlfriends when I was living in Los Angeles in the mid 2000’s, and I was able to do some work on a Public Enemy project with them.

Gary did most of the talking as Amani was busy working on tracks for the follow to Public Enemy’s Apoacalypse 91.

Really cool people..

Kelland:So how did you get into the music industry?
Gary: I started as a Dj in the 80’s and then I connected up with Chuck D and Hank Shocklee. I worked with them for a while after they formed Public Enemy, and then in 1991 we recorded Apocalypse 1991.

Kelland: So who are some of the artists that you guys have worked with
Gary: First and foremost Public Enemy, Run DMC, Janet Jackson, Aerosmith, Busta Rhymes
Amani: Meth and Red

Kelland: When you guys first started producing what type of equipment were you using?
Gary: All the old stuff that the rock guys were using. We had some samplers and the SP 1200. We had drum machines that was about it. I think in 1990 we actually did have Protools but it was only like two channels.

Gary: I didn’t tell you how I met Amani lol.
Kelland: Lol, Thats the million dollar question. How did you meet Amani?
Gary: Well in 2000 Amani and myself… Well I actually did a theme for a show called ‘Dark Angel’ with Jessica Alba and Amani was doing composing and we met at the first season wrap party. We were hoping it would be more but it was only one season. After that we Did the ‘Meth and Red’ show on MTV, ‘Volcano High’ and a show called ‘Louie.’ After that we worked with Ice Cube on his album ‘Black and White.’ We just got sick of TV, the volume of work you have to do was a bit exhausiting

Kelland:Whats the difference between composing for television and producing for an artist?
Gary:When your composing for television your making stuff to order. You bring them a bunch of songs and they decide if they want to use them. And again, the volume is a lot..For example the ‘Meth and Red’ show was seven episodes and we had to compose 40 songs for each episode. When your composing for a song you create the music and either people buy it or they don’t. In television we did a lot of work to get the job and if the show was on for only one episode it was nothing we could do about it.
Amani: After a while television gets boring

Kelland: What type of advice would you give up and coming producers who are trying to get some televion or movie work?
Gary:I mean you can do everhthing now. The difference now is everybody is doing is doing it now. It’s saturation. Put you stuff online and if it’s good people will finds you know. The funny thing is no one will work with you till you find a job. With MTV Amani’s buddy was actually doing some writing.
Amani: It’s who you know. Get cool with people, play golf with them and go out an have some drinks lol. Have your music organized 30 songs on a cd and have different styles of music. Not just 30 hip hop beats, but you wanna give them a wide range of music to choose from. Show them the different type of emotions that the viewers wanna see.
Gary: You got to give it to everybody, the only thing you have to do with music is you have to make someone care about your music first.There are so many people with good music these days. Whether u gotta be like Lil Wayne and make 300 songs until someone cares about it. The good thing about that approach is it will make you better. When do you pure volume you’re gonna get better or you really suck lol

Kelland: How are you guys leveraging the internet and social media to promote your brand
Gary: Like i said with Chuck D he has a whole host of sites. We launched the Public Enemy site in 96 or 97. We were one of the first in hip hop to do it. Then we launched, now we have In order to be a Hip Hop God you must have made a piece of music that impacted thirteen years ago. We have and we are taking on a 100 producers and helping them to shop their music. Chuck’s gonna use their stuff, cash prizes for the best tracks.Shop them to the companies we work with like Nike. And, is for classic female artist who don’t get enough publicity..

Gary: It’s a lot of people out there who are trying to get their point across. We use to say and we still say anything that you wanna do is gonna do its gonna take nine to ten years. If your working on something for ten years you have to get better and the last man standing will win. The difference is just being there. People wanna see you grow. If someone comes too your site today and two years later you have better content and its growing then you have something.