by Jonathan P-Wright | Nov 11, 2024 | Latest, Music News, New Music Alert |
Image credit: Michael Mattes / Shutterstock.com
In the pulsating heart of the music industry, where legends are born and legacies are crafted, stands a figure whose influence has shaped the soundscape of generations. Jimmy Jam, at the vibrant age of 65, finds himself in the midst of what he affectionately calls his “bucket list year.” This musical maestro, whose fingerprints are all over countless chart-topping hits, is experiencing a renaissance that’s as unexpected as it is thrilling.
From the funk-infused streets of Minneapolis to the glittering halls of the Rock and Roll Hall of Fame, Jimmy Jam’s journey is a testament to the enduring power of passion, creativity, and reinvention. As he navigates this new chapter, collaborating with fresh talent and reconnecting with his roots, Jimmy Jam is not just reliving his glory days – he’s creating new ones.
The Early Days: From Minneapolis to Stardom
Jimmy Jam’s musical odyssey began in the vibrant city of Minneapolis, a place that would later become synonymous with a unique sound that captivated the world. Born James Samuel Harris III, Jimmy’s early life was steeped in melody and rhythm, thanks in large part to his father, James “Cornbread” Harris Jr., a local piano virtuoso with a flair for jazz and blues.
The young Jimmy was a prodigy in the making, his fingers dancing across keyboards with a natural grace that belied his years. By the tender age of 12, he was already keeping time as a drummer in his father’s band, wowing adult audiences with his precocious talent. These formative experiences laid the groundwork for what would become a revolutionary career in music.
As Jimmy entered his teenage years, fate intervened in the form of a chance meeting with Terry Lewis. This encounter would spark a partnership that would change the face of popular music. Together, they formed a bond that transcended mere friendship, becoming a creative force that would shape the sound of generations to come.
Their ascent in the music world was meteoric. As members of the funk-rock outfit The Time, Jimmy and Terry caught the eye of the Purple One himself, Prince. Under his tutelage, they honed their skills, absorbing the eclectic influences that permeated the Minneapolis music scene. It was here that Jimmy began to develop his signature style, both musically and sartorially, donning the black suits and fedoras that would become his trademark.
But it was behind the scenes where Jimmy Jam truly found his calling. Transitioning from performer to producer, he and Terry Lewis embarked on a journey that would see them crafting hits for some of the biggest names in the industry. Their innovative approach to songwriting and production breathed new life into the pop and R&B genres, creating a sound that was at once fresh and timeless.
As the 1980s rolled on, Jimmy Jam and Terry Lewis became the go-to team for artists looking to top the charts. Their collaboration with Janet Jackson, in particular, yielded a string of iconic albums and singles that defined an era. From “Control” to “Rhythm Nation,” their work with Janet showcased their ability to blend cutting-edge production techniques with irresistible melodies and socially conscious lyrics.
This period of Jimmy’s career was marked by an relentless pursuit of musical excellence. Long nights in the studio, endless experimentation with new sounds and technologies, and a commitment to pushing the boundaries of what was possible in popular music became his hallmarks. It was a time of tremendous growth and creativity, setting the stage for the legendary status he would achieve in the decades to come.
The Jam & Lewis Sound: Revolutionizing Pop Music
The partnership between Jimmy Jam and Terry Lewis didn’t just produce hit songs – it redefined the very landscape of popular music. Their unique approach to production, blending state-of-the-art technology with soulful musicianship, created a sound that was instantly recognizable yet endlessly versatile.
At the heart of the Jam & Lewis sound was a deep understanding of rhythm and groove. Drawing from their experiences in funk and R&B, they crafted basslines and drum patterns that were impossible to resist. But it was their innovative use of synthesizers and drum machines that truly set them apart. They weren’t content to simply use these tools as they came out of the box – instead, they pushed them to their limits, coaxing new and unexpected sounds that would become their sonic signature.
Their work with Janet Jackson serves as the perfect case study of their revolutionary approach. Albums like “Control” and “Rhythm Nation 1814” weren’t just collections of songs – they were cohesive musical statements that seamlessly blended pop, R&B, and social commentary. The production on these records was crisp and clean, yet full of depth and texture. Each track was a carefully constructed world of sound, with layers that revealed themselves over repeated listens.
But Janet was far from their only muse. Jimmy Jam and Terry Lewis brought their magic touch to a diverse array of artists, from Boyz II Men to Mariah Carey, Usher to Mary J. Blige. With each collaboration, they showed an uncanny ability to adapt their sound to suit the artist while still maintaining their distinctive style.
What set Jimmy Jam apart as a producer was his keen ear for melody and his understanding of the human voice. He had a gift for crafting vocal arrangements that showcased an artist’s strengths, often pushing them to deliver career-defining performances. His background as a musician allowed him to communicate effectively with artists, speaking their language and drawing out their best work.
The Jam & Lewis sound wasn’t just about the music – it was a complete package. Their production often came with a visual aesthetic that was just as impactful. Music videos for songs they produced were often groundbreaking, pushing the boundaries of what was possible in the medium. The iconic black and white video for Janet Jackson’s “Rhythm Nation” is a prime example, blending sharp choreography with powerful imagery that perfectly complemented the song’s message.
As the years went on, Jimmy Jam and Terry Lewis continued to evolve their sound, incorporating new influences and technologies while staying true to their roots. They weren’t afraid to experiment, whether it was incorporating elements of hip-hop, dabbling in electronic dance music, or revisiting classic soul sounds.
Their influence on the music industry cannot be overstated. The Jam & Lewis sound became a blueprint for pop and R&B production, inspiring countless imitators and shaping the direction of popular music for decades. Even today, in an era of digital production and bedroom studios, the meticulous craftsmanship and attention to detail that characterized their work remains a gold standard in the industry.
A Fashion Icon: The Signature Look
When you think of Jimmy Jam, it’s impossible to separate the man from his iconic style. For over four decades, he’s been rocking a look that’s become as legendary as his music: black suits, fedoras, and ever-present sunglasses. This signature ensemble isn’t just a fashion statement – it’s a reflection of Jimmy’s philosophy on life and music.
The origins of this distinctive look can be traced back to Jimmy’s early days in The Time. Prince, their mentor and bandleader, instilled in them the importance of maintaining a consistent image both on and off stage. This lesson stuck with Jimmy, who saw his style as an extension of his musical identity.
But the suits weren’t just about looking good. For Jimmy and Terry, they were a symbol of professionalism and respect for their craft. In an industry often associated with casual attire, they chose to present themselves with a level of sophistication that set them apart. It was a visual representation of their commitment to excellence in everything they did.
The fedora, perhaps the most recognizable element of Jimmy’s look, has its own story. While Terry was the first to adopt the hat as part of his style, Jimmy soon followed suit. Over the years, the fedora became more than just an accessory – it became a trademark, as closely associated with Jimmy Jam as his keyboard skills.
Interestingly, the commitment to this look wasn’t always easy. In the early days, when money was tight, Jimmy and Terry would scour thrift stores for suits, having them tailored to fit. This resourcefulness speaks to their determination to maintain their image, even when resources were limited.
The sunglasses, another constant in Jimmy’s ensemble, serve a dual purpose. On a practical level, they protect his eyes from the bright lights of studios and stages. But they also add an air of mystery, a barrier between the public persona and the private individual. In an industry where image is everything, this small detail has helped Jimmy maintain a sense of control over his public image.
Over the years, Jimmy’s style has evolved subtly while remaining true to its core elements. The cuts of the suits may have changed with the times, and the brands may have become more prestigious, but the essence remains the same. It’s a look that’s both timeless and distinctly of its era, much like Jimmy’s music itself.
The impact of Jimmy’s style extends beyond his personal brand. It’s influenced countless musicians and producers who have followed in his footsteps. The image of the well-dressed producer, once a rarity in the casual world of music studios, has become more common, thanks in no small part to Jimmy’s influence.
In recent years, Jimmy has shown a willingness to experiment with his look, incorporating new elements while staying true to his classic style. Whether it’s a pop of color in a pocket square or a more modern cut to his suits, he’s demonstrated that style, like music, is an ever-evolving art form.
As Jimmy enters his 65th year, his signature look remains as sharp and relevant as ever. It’s a testament to the power of personal style, and a reminder that true icons don’t follow trends – they set them. In a world of constantly changing fashions, Jimmy Jam’s enduring style stands as a beacon of consistency and cool.
The Art of Collaboration: Working with Music Legends
Throughout his illustrious career, Jimmy Jam has been the mastermind behind countless hit records, collaborating with some of the biggest names in the music industry. His ability to bring out the best in artists, coupled with his innovative production techniques, has made him one of the most sought-after producers in the business.
One of Jimmy’s most fruitful collaborations has been with Janet Jackson. Their partnership, which began in the mid-1980s, produced a string of groundbreaking albums that defined the sound of pop and R&B for a generation. Jimmy’s work with Janet went beyond mere hit-making – together, they crafted albums that were cohesive artistic statements, tackling social issues while delivering irresistible hooks and dance-floor fillers.
The process of working with Janet, as Jimmy has described it, was always a collaborative one. He and Terry Lewis would create the musical backdrop, crafting intricate arrangements that showcased Janet’s vocals while pushing the boundaries of contemporary pop production. Janet, in turn, would bring her unique vision and lyrical prowess to the table, resulting in songs that were both deeply personal and universally relatable.
But Janet is far from the only legend Jimmy has worked with. His resume reads like a who’s who of music royalty. From Michael Jackson to Mariah Carey, Usher to Mary J. Blige, Jimmy has left his mark on the discographies of some of the most iconic artists of the past four decades.
What sets Jimmy apart as a collaborator is his ability to adapt his style to suit the artist he’s working with, while still maintaining his signature sound. When working with Boyz II Men, for example, he and Terry crafted lush, harmony-rich productions that showcased the group’s incredible vocal abilities. With Usher, they created sleek, dance-oriented tracks that helped establish him as a pop superstar.
Jimmy’s approach to collaboration is rooted in respect for the artist’s vision. He’s not interested in imposing his will on a project, but rather in finding ways to enhance and elevate the artist’s natural talents. This philosophy has earned him the trust and admiration of countless musicians over the years.
In recent years, Jimmy has shown a willingness to collaborate with a new generation of artists, bringing his wealth of experience to bear on contemporary sounds. His work with younger artists has allowed him to stay current while imparting the wisdom he’s gained over decades in the industry.
One of the most exciting aspects of Jimmy’s collaborative spirit is his openness to unexpected partnerships. Whether it’s working with rock bands, country artists, or electronic producers, he’s always eager to push himself out of his comfort zone and explore new musical territories.
As he enters his 65th year, Jimmy’s passion for collaboration shows no signs of waning. If anything, he seems more excited than ever about the possibilities that come with working with diverse artists from different genres and generations. It’s this openness to new ideas and his genuine love for the collaborative process that keeps Jimmy Jam at the forefront of music production, even after all these years.
by Enaysha Thompson | May 1, 2023 | Latest, Music News, New Music Alert |
Having just completed a pair of stellar Coachella performances, Latto knows just how good she is. As a way to celebrate her stellar performance on the stage, the ClayCo County-bred artist returned yesterday (April 24) with her new “Put It On Da Floor” video, a short clip that combines all the highlights from her performance into a three-minute clip. The track is produced by Go Grizzly, Pooh Beatz and Squat Beatz. The powerful vocals of Latto are overlaid on top of the instrumental, over the sound of the massive crowd, encouraging her to keep going:
As part of her sophomore LP, 777, which was released back in March 2022, Latto presented our audience with a variety of features, including Childish Gambino, 21 Savage, Lil Wayne, Nardo Wick, Lil Durk, and Kodak Black. In terms of singles, the album was anchored by her highly successful “Big Energy” track, which was produced by Vaughn Oliver and Dr. Luke and sampled Mariah Carey ’90s classic “Fantasy.” As a result, fans have been able to interact with their favorite songs, such as “Wheelie,” “777,” “It’s Givin,” and “Soufside.”
Besides dropping her own albums, the 24-year-old rapper has made an impression on the music scene by dishing out features to tracks such as “Don’t Play With It (Remix)” from Lola Brooke, “FreakyT (Remix)” from TiaCorine, and more.
by Jesse Swindell | Aug 29, 2022 | Latest, Music News, New Music Alert |
Over the course of the year, Gucci Mane has offered fans quality singles such as “Blood All On It,” “Publicity Stunt” by Key Glock “Rumors,” “Fake Friends” with Lil Durk, and Young Dolph, “Mrs. Davis,” “Serial Killers,” “All Dz Chainz” featuring Lil Baby,” and “Dissin The Dead.” As well as his own songs, he appeared on Pooh Shiesty “Next Up,” Big Scarr “Houdini,” Quavo and Takeoff “Us vs. Them” and Mariah Carey “Obsessed (Remix).”
As of today (Aug. 19), Gucci is adding to that with the release of “Gelati,” a track featuring 1017 rising star BigWalkDog, along with fellow hometown hero Peewee Longway. According to the chorus of “Gelati,” the song is all about making money and enjoying life to the fullest:
Almost a year has passed since Gucci Mane released his fifteenth studio album Ice Daddy. This album included 17 songs and guest appearances by BIG30, Pooh Shiesty, 2 Chainz, Lil Uzi Vert, Lil Baby, and more. A further point of significance is that one of hip hop’s most prolific artists has continued to produce – for example, Gucci releases albums on his 1017 label including So Icy Boyz, So Icy Christmas,and So Icy Gang: The ReUp.
by Diontae Bussey | Aug 8, 2021 | WILDE TUNA |
Jadakiss, He is known for being one third of the East Coast hip hop group The Lox as well as being a member of Ruff Ryders and for his solo work. He is currently signed to both Def Jam Records and his own label, D-Block Records, which he founded with the other members of The Lox. Jadakiss has released five studio albums, with the most recent being Ignatius on March 6, 2020. Recently destroying the Diplomats in a Verzuz battle Jada is said to be at a all time high in streams.
Starting out with Ruff Ryders then signing with Bad Boy, Puff Daddy at the time shortened the group’s name from The Warlocks to simply The LOX. They made their first appearance on The Main Source’s 1994 LP “Fuck What You Think” on the track “Set it Off.” They immediately began writing and performing on hit songs with fellow Bad Boy artists, including Puff Daddy’s “It’s All About the Benjamins” and “I Got the Power”, Mase’s “24 Hrs. to Live”, Mariah Carey’s “Honey”, Mary J. Blige’s “Can’t Get You Off My Mind” and The Notorious B.I.G.’s “Last Day”. The group developed a close relationship with B.I.G., during which time Jadakiss especially was taken under his wing. The LOX’s first hit song was a tribute to The Notorious B.I.G. in the wake of his 1997 death, titled “We’ll Always Love Big Poppa”. The song was chosen as the B-side to Puff Daddy’s smash hit B.I.G. tribute song “I’ll Be Missing You”, and received widespread commercial success, achieving multi-platinum status from the Recording Industry Association of America (RIAA).
BAD BOY’S FALL OUT
The success and reception of the song opened the door for them to write more of their own songs, and in 1998, the LOX released their debut studio album, “Money, Power & Respect”. The album was both a commercial and critical success, peaking at number 3 on the Billboard 200 and number 1 on the US Top R&B/Hip-Hop Albums chart, and went on to achieve platinum status. Though the record was successful, The Lox grew unhappy with Bad Boy Records and Puff Daddy’s, radio friendly production, feeling it conflicted with their image.
CONTINUED SUCCESS
Following the release of their debut album, the group left the label to sign with Ruff Ryders Entertainment. They released their second album, We Are The Streets in 2000, through Ruff Ryders. The album was once again a success, peaking at number 5 on the Billboard 200 and number 2 on the US Top R&B/Hip Hop Albums chart. It featured production from Swizz Beatz and Timbaland, and spawned one single, “Ryde Or Die, Bitch” featuring fellow Ruff Ryders artist Eve.
THE GOLDEN YEARS
Jadakiss began embarking on a solo career in 2001 and his debut album, “Kiss Tha Game Goodbye”, was released in August on the Ruff Ryders/Interscope label. The album featured popular guests and producers such as DJ Premier, The Alchemist, DMX, Eve, Snoop Dogg and Swizz Beatz and was commercially successful, going on to be certified gold by the RIAA and selling over 200,000 copies during its first week of release. Despite commercial success, the album received negative reception from critics who criticised the album for being repetitive and uninspired. Jadakiss has acknowledged the criticism as valid, saying the record was done less out of inspiration but rather out of contractual obligations to Bad Boy.The album produced three singles, “We Gonna Make It” featuring Styles P, “Knock Yourself Out” and “Put Ya Hands Up”.
Jadakiss followed this album with “Kiss of Death”, released in June 2004. It features guest appearances from Snoop Dogg, Eminem, The Lox, Kanye West, Pharrell Williams, Nate Dogg, DJ Quik and more. His song “Why?”, featuring Anthony Hamilton and produced by Havoc of Mobb Deep, became one of the year’s biggest hits, spawning a remix featuring Styles P, Common and Nas. “Why?” remains Jadakiss’ biggest hit, peaking at #11 on the Billboard Hot 100. The song also garnered controversy for a line in which Jadakiss claims that he believes George W. Bush planned the 9/11 terrorist attacks. Another single from the record, “U Make Me Wanna,” featuring Mariah Carey peaked at number 21 on the Billboard Hot 100. The album was both a commercial and critical success, receiving better reviews than his previous album and debuted at number 1 on both the Billboard 200 and the Top R&B/Hip Hop Albums charts.
In late 2007, Jadakiss signed to Jay-Z’s Roc-A-Fella Records, a move Jay had been trying to arrange for a long time. The move came on the heels of increased D-Block/Roc-a-Fella collaborations; in 2006, Jadakiss and former rival Beanie Sigel collaborated on DJ Khaled’s album Listennn… the Album, and in 2007, on Freeway’s album “Free At Last”. Styles P appeared on a radio freestyle with Freeway and Sigel, and also appeared briefly in the video for Jay-Z’s American Gangster single “Roc Boys,” in which he throws up the famous Roc-a-Fella sign, “the Diamond.”
In 2009, Jadakiss released his much-delayed and anticipated third studio album, “The Last Kiss”. The first single, “By My Side” featuring Ne-Yo was released in October 2008. Two more singles, “Can’t Stop Me” and “Death Wish” featuring Lil Wayne, were released in 2009. One more single, “Who’s Real”, featuring Swizz Beatz and OJ Da Juiceman released later that year.
In 2010, Jadakiss left Roc-A-Fella records. In 2011, he was featured on two DJ Khaled tracks, one of them titled “It Ain’t Over Til It’s Over”, featuring Mary J. Blige and Fabolous, and the remix of “Welcome to My Hood,” also featuring Ludacris, Busta Rhymes, Twista, Mavado, Birdman, Ace Hood, Fat Joe, Game, Bun B and Waka Flocka Flame. On April 26, 2012, Jadakiss released his mixtape Consignment, hosted by DJ Drama.
On June 4, 2013, Jadakiss released the first single from his upcoming fourth studio album, “Top 5, Dead or Alive” titled “Big Boy Dialogue”, featuring vocals from The-Dream. The album was scheduled to be released during September or October 2013,but after much delay, the album was finally released on November 20, 2015. It features guest appearances from Akon, Future, Jeezy, Lil Wayne, Ne-Yo, Nas, Nipsey Hussle Styles P, Puff Daddy, Sheek Louch, Swizz Beatz, Wiz Khalifa and Young Buck, and was supported by 2 singles, “Jason” featuring Swizz Beatz, and Ain’t Nothin’ New featuring Ne-Yo and Nipsey Hussle. The album debuted at number 4 on the Billboard 200, and received positive reviews from critics.
Jadakiss, He is known for being one third of the East Coast hip hop group The Lox as well as being a member of Ruff Ryders and for his solo work. He is currently signed to both Def Jam Records and his own label, D-Block Records, which he founded with the other members of The Lox. Jadakiss has released five studio albums, with the most recent being Ignatius on March 6, 2020.
Signing with Bad Boy, Puff Daddy at the time shortened the group’s name from The Warlocks to simply The LOX. They made their first appearance on The Main Source’s 1994 LP “Fuck What You Think” on the track “Set it Off.” They immediately began writing and performing on hit songs with fellow Bad Boy artists, including Puff Daddy’s “It’s All About the Benjamins” and “I Got the Power”, Mase’s “24 Hrs. to Live”, Mariah Carey’s “Honey”, Mary J. Blige’s “Can’t Get You Off My Mind” and The Notorious B.I.G.’s “Last Day”. The group developed a close relationship with B.I.G., during which time Jadakiss especially was taken under his wing. The LOX’s first hit song was a tribute to The Notorious B.I.G. in the wake of his 1997 death, titled “We’ll Always Love Big Poppa”. The song was chosen as the B-side to Puff Daddy’s smash hit B.I.G. tribute song “I’ll Be Missing You”, and received widespread commercial success, achieving multi-platinum status from the Recording Industry Association of America (RIAA).
BAD BOY’S FALL OUT
The success and reception of the song opened the door for them to write more of their own songs, and in 1998, the LOX released their debut studio album, “Money, Power & Respect”. The album was both a commercial and critical success, peaking at number 3 on the Billboard 200 and number 1 on the US Top R&B/Hip-Hop Albums chart, and went on to achieve platinum status. Though the record was successful, The Lox grew unhappy with Bad Boy Records and Puff Daddy’s, radio friendly production, feeling it conflicted with their image.
CONTINUED SUCCESS
Following the release of their debut album, the group left the label to sign with Ruff Ryders Entertainment. They released their second album, We Are The Streets in 2000, through Ruff Ryders. The album was once again a success, peaking at number 5 on the Billboard 200 and number 2 on the US Top R&B/Hip Hop Albums chart. It featured production from Swizz Beatz and Timbaland, and spawned one single, “Ryde Or Die, Bitch” featuring fellow Ruff Ryders artist Eve.
THE GOLDEN YEARS
Jadakiss began embarking on a solo career in 2001 and his debut album, “Kiss Tha Game Goodbye”, was released in August on the Ruff Ryders/Interscope label. The album featured popular guests and producers such as DJ Premier, The Alchemist, DMX, Eve, Snoop Dogg and Swizz Beatz and was commercially successful, going on to be certified gold by the RIAA and selling over 200,000 copies during its first week of release. Despite commercial success, the album received negative reception from critics who criticised the album for being repetitive and uninspired. Jadakiss has acknowledged the criticism as valid, saying the record was done less out of inspiration but rather out of contractual obligations to Bad Boy.The album produced three singles, “We Gonna Make It” featuring Styles P, “Knock Yourself Out” and “Put Ya Hands Up”.
Jadakiss followed this album with “Kiss of Death”, released in June 2004. It features guest appearances from Snoop Dogg, Eminem, The Lox, Kanye West, Pharrell Williams, Nate Dogg, DJ Quik and more. His song “Why?”, featuring Anthony Hamilton and produced by Havoc of Mobb Deep, became one of the year’s biggest hits, spawning a remix featuring Styles P, Common and Nas. “Why?” remains Jadakiss’ biggest hit, peaking at #11 on the Billboard Hot 100. The song also garnered controversy for a line in which Jadakiss claims that he believes George W. Bush planned the 9/11 terrorist attacks. Another single from the record, “U Make Me Wanna,” featuring Mariah Carey peaked at number 21 on the Billboard Hot 100. The album was both a commercial and critical success, receiving better reviews than his previous album and debuted at number 1 on both the Billboard 200 and the Top R&B/Hip Hop Albums charts.
In late 2007, Jadakiss signed to Jay-Z’s Roc-A-Fella Records, a move Jay had been trying to arrange for a long time. The move came on the heels of increased D-Block/Roc-a-Fella collaborations; in 2006, Jadakiss and former rival Beanie Sigel collaborated on DJ Khaled’s album Listennn… the Album, and in 2007, on Freeway’s album “Free At Last”. Styles P appeared on a radio freestyle with Freeway and Sigel, and also appeared briefly in the video for Jay-Z’s American Gangster single “Roc Boys,” in which he throws up the famous Roc-a-Fella sign, “the Diamond.”
In 2009, Jadakiss released his much-delayed and anticipated third studio album, “The Last Kiss”. The first single, “By My Side” featuring Ne-Yo was released in October 2008. Two more singles, “Can’t Stop Me” and “Death Wish” featuring Lil Wayne, were released in 2009. One more single, “Who’s Real”, featuring Swizz Beatz and OJ Da Juiceman released later that year.
In 2010, Jadakiss left Roc-A-Fella records. In 2011, he was featured on two DJ Khaled tracks, one of them titled “It Ain’t Over Til It’s Over”, featuring Mary J. Blige and Fabolous, and the remix of “Welcome to My Hood,” also featuring Ludacris, Busta Rhymes, Twista, Mavado, Birdman, Ace Hood, Fat Joe, Game, Bun B and Waka Flocka Flame. On April 26, 2012, Jadakiss released his mixtape Consignment, hosted by DJ Drama.
On June 4, 2013, Jadakiss released the first single from his upcoming fourth studio album, “Top 5, Dead or Alive” titled “Big Boy Dialogue”, featuring vocals from The-Dream. The album was scheduled to be released during September or October 2013,but after much delay, the album was finally released on November 20, 2015. It features guest appearances from Akon, Future, Jeezy, Lil Wayne, Ne-Yo, Nas, Nipsey Hussle Styles P, Puff Daddy, Sheek Louch, Swizz Beatz, Wiz Khalifa and Young Buck, and was supported by 2 singles, “Jason” featuring Swizz Beatz, and Ain’t Nothin’ New featuring Ne-Yo and Nipsey Hussle. The album debuted at number 4 on the Billboard 200, and received positive reviews from critics.
In 2016, The Lox released their first album in 16 years, title “Filthy America…It’s Beautiful”. The album featured guest appearances from Fetty Wap, Mobb Deep and Gucci Mane, and peaked at number 42 on the Billboard 200.
On February 29, 2016, Fabolous posted a picture on Instagram with Jadakiss with the caption, “Freddy vs. Jason coming soon”, hinting at the release of a joint project with Jadakiss, titled Freddy vs. Jason. On April 2, 2016, Fabolous and Jadakiss released a freestyle of Future’s “Wicked” from Purple Reign that was scheduled appear on Freddy vs. Jason, but did not make the final cut of the album. They also revealed that it would not be a mixtape, but instead a full album.
On October 31, 2017, the album’s first and only single, “Stand Up” featuring Futurewas released. On November 21, 2017, it was announced that the album title was changed to “Friday on Elm Street”. The album was released on November 24, 2017, and features guest appearances from Future, Jeezy, Styles P, French Montana and Yo Gotti.
WHAT IT TAKES TO BE A KING IN THIS GAME FOR MULTIPLE DECADES…..
Forget everything you just read and use some critical thinking… From 1994 to 2020, how drastically the music sound, business, owners and fans have changed and grown. Being able to create classics like “Why” and still drop street music illustrating his harsh come up. Standing toe to toe with the top artist of 3 generations in the hiphop world, not losing motivation when times got hard and groups split up, not losing the motivation during hard times and bad contracts and not losing the authenticity of yourself as an artist. Jada has given game in the music and outside the music with his actions leading to his longevity. Forever a staple in Hip-Hop Jadakiss goes on the first ballot for the Hall of Fame, Jadakiss goes 1st all Hip-Hop team as a starter and forever embedded in the history of our culture.
In 2016, The Lox released their first album in 16 years, title “Filthy America…It’s Beautiful”. The album featured guest appearances from Fetty Wap, Mobb Deep and Gucci Mane, and peaked at number 42 on the Billboard 200.
On February 29, 2016, Fabolous posted a picture on Instagram with Jadakiss with the caption, “Freddy vs. Jason coming soon”, hinting at the release of a joint project with Jadakiss, titled Freddy vs. Jason. On April 2, 2016, Fabolous and Jadakiss released a freestyle of Future’s “Wicked” from Purple Reign that was scheduled appear on Freddy vs. Jason, but did not make the final cut of the album. They also revealed that it would not be a mixtape, but instead a full album.
On October 31, 2017, the album’s first and only single, “Stand Up” featuring Futurewas released. On November 21, 2017, it was announced that the album title was changed to “Friday on Elm Street”. The album was released on November 24, 2017, and features guest appearances from Future, Jeezy, Styles P, French Montana and Yo Gotti.
WHAT IT TAKES TO BE A KING IN THIS GAME FOR MULTIPLE DECADES…..
Forget everything you just read and use some critical thinking… From 1994 to 2020, how drastically the music sound, business, owners and fans have changed and grown. Being able to create classics like “Why” and still drop street music illustrating his harsh come up. Standing toe to toe with the top artist of 3 generations in the hiphop world, not losing motivation when times got hard and groups split up, not losing the motivation during hard times and bad contracts and not losing the authenticity of yourself as an artist. Jada has given game in the music and outside the music with his actions leading to his longevity. Forever a staple in Hip-Hop Jadakiss goes on the first ballot for the Hall of Fame, Jadakiss goes 1st all Hip-Hop team as a starter and forever embedded in the history of our culture.
by Jonathan P-Wright | Jun 2, 2021 | Editorial Pick, Latest, Trending |
“FRIEND OF MINE” BY KELLY PRICE
“THE THINGS YOU DO [BAD BOY REMIX]” BY GINA THOMPSON FEAT. MISSY ELLIOTT
“HONEY” BY MARIAH CAREY
“SUMMERTIME” BY BEYONCÉ FEAT. DIDDY
“BREAKDOWN” BY MARIAH CAREY FEAT. BONE THUGS-N-HARMONY
“MO’ MONEY MO’ PROBLEMS” BY NOTORIOUS B.I.G.
“LOVE @ FIRST SIGHT” BY MARY J. BLIGE FEAT. METHOD MAN
“LET ME BLOW YA MIND” BY EVE FEAT. GWEN STEFANI
“Can’t NOBODY HOLD ME DOWN” BY PUFF DADDY FEAT MASE
“CAN’T LET HER GO” BY BOYZ II MEN
“ONLY YOU” BY 112 FEAT. NOTORIOUS BIG
“NEVER LEAVE YOU” BY LUMIDEE
“I’LL BE MISSING YOU” BY DIDDY FEAT. FAITH EVANS AND 112
“SPENDIN’ MONEY” BY R. KELLY
“YOU DON’T HAVE TO WORRY” BY NEW EDITION
Puff Daddy ft. Busta Rhymes and The Notorious B.I.G. “Victory,” No Way Out
Puff Daddy ft. Carl Thomas, Ginuwine, and Twista “Is This the End,” No Way Out
Puff Daddy ft. Foxy Brown “Friends,” No Way Out
“Niggas Bleed,” “Notorious Thugs,” “Another,” “Playa Hater,” “Nasty Boy,” “You’re Nobody (till Somebody Kills You)” from the album Life After Death.
Brian McKnight: “You Should Be Mine (Don’t Waste Your Time)” from the album Anytime
I’m sitting in my living room listening to the album “Personal Conversation” by Case (S/O to Case, your music is the perfect tempo to create a classic article) and watching one of my favorite TV shows, “Jeopardy.” The “cool factor” of Jeopardy is even if you don’t know the answer, it’s super intriguing to find out the absolute truth of the question. So when I research all of the “true” classics Stevie J has produced or contributed to, I find myself in another episode of jeopardy.
Hidden genius is a beautiful quality because it doesn’t seek attention, superficial attraction, or seeks its own interest; the motivation is fueled by passion and relentless ambition. The characteristics of Stevie J are a perfect blend of God-given vision, gargantuan inner drive, unflinching confidence, and an ounce of insanity. Ok, I love Case, but the “Red Berry” Ciroc is kicking in, so I fast-forward to “Can’t nobody hold us down” off the “NO WAY OUT ALBUM.
“Normally, when you hear a sampled song, it doesn’t reinvent itself; however, that’s part of the secret formula for Stevie J. Stevie J has an amazing ability to complement a track with an untraceable production approach and signature melodic finish.
The footprints of legends can only be followed and not duplicated, and that’s why his trademark sound will and must be publicly declared. I’m so amped right now!! Music is the soundtrack to life, and when “VICTORY” comes on, so many visions and thoughts are racing through my mind. I’m pacing through my condo rapidly like I’m in the ring of a championship fight.
Yo, the sun don’t shine forever
(You can turn the track up a little bit for me)
But as long as it’s here then we might as well shine together
(All up in my ears)
Better now than never, business before pleasure
(The mic is loud, but the beats isn’t loud)
P-Diddy and the Fam, who you know do it better?
Timeless music!! How did Stevie J know what to add or cut from this sample and then make it work? Success has different outlooks, but the ingredients are always consistent. Stevie J hears a sound only he can ascertain and develop. When he enters into a studio, the room feels, smells, looks, and resonates with an ambrosial atmosphere.
Every great performer, athlete, entertainer, and etc has this creative arena within their mind which enables supernatural results and unfathomable heights of a phenomenon. I just finished listening to “PAIN” and “Is This The End” blares through my speakers like a Hip Hop symphony. Ginuwine, Twista, & Puff Daddy own this track like it is a birthright, and it flows like a sonic motion picture in “HD”.
Who could make “death” sound so good? Stevie J!! The overall instrumentation and sonic delivery of this track are matchless in this current era. My adrenaline is wearing off a little, so as I sit by red berry Ciroc self-down, I flip over to the track “HONEY” (Bad Boy Remix). This universal track connects with every race, gender, and a hater! Jadakiss rips it from the beginning, Styles P supplies his signature gritty undertones, Mase provides the perfect god-flow finger roll, Puff is simply being Puff, Mariah is like cool whip.
She’s good on top of any dessert! Stevie J’s behind the scenes influence is visible throughout each verse, hook, string, chord, and baseline. Stevie J is James Worthy on the fast break, and nobody finishes better. Who can make a pop record cross over to streets better than Stevie J along with the Hitmen production team.
Stevie J understands the language of music, and that’s an inborn God induced gift. Possessing the ability to coordinate over 7 instruments simultaneously, manage sound, tones, voice inflection, intonation, and most importantly, artistic chemistry.
I stop and do a 100 quick push-ups to get my blood flowing and raise my adrenaline. I switch to “Mo Money More Problems” from the 10X platinum “Life After Death” album. Once Big said ”
Uh, uh, B.I.G., P O, P P A, no info, for the, DEA
Federal agents mad cause I’m flagrant
Tap my cell and the phone in the basement
My team supreme, stay clean triple beam lyrical dream
Man, need I say more about this classic record that Stevie J was a part of during the meteoric rise of Notorious B.I.G. How many producers/people would Sean Combs trust with the music and career of B.I.G?
How many producers possess the patience, instinct, and overall musical acumen to deliver for arguably the greatest MC of all time (Its always a toss-up between B.I.G & Tupac). Stevie J’s catalog is responsible for the biggest hits during an entire decade only and not to mention after the 90’s.
When I think about the song “I’ll be missing you” and the impact the record has made worldwide and continues to assist in healing the emotional wounds of people, I often wonder the metal state of mind he commanded during those studio moments.
Knowing that B.I.G. was recently buried and the entire world was waiting and needed this record for their eternal playlist. Stevie J, Puff, Faith, 112, & Sauce Money engineered one of the greatest songs of unity in the league of “We are the world.” Everyone in the world felt compelled to mourn and be inspired at the very exact moment.
Once again, the beautiful mind of Stevie J provided the finely detailed production assembly of emotion, chords, guitar strings, blissful sounds, and undertones of Faith and 112 and made history again. But, unfortunately, most people admire, detest, applaud, aspire to, and reject Stevie J every Monday night via VH1.
The television showcases a very small portion of his life. Stevie’s life is an authentic soundtrack, and we’ve only heard a few tracks of his life. In 2016, Stevie J will ascend to new heights and release new musical jewels for the world to love again.
Stevie J is mentally, physically, and spiritually in the best shape of his life, and he’s leaving no stone unturned. Multiple movies, TV shows, business ventures, and more occupy his current and 2016 roll-out calendar.
The infamous Stevie J bus has turned into super-ultra RV, and more people have come aboard for apparent reasons. But, when you closely examine his catalog, journey, sound, music production, Faith, and God-given talent, there can only be one title: “LORD OF THE STRINGS.”
This article was penned by Jonathan P. Wright. Jonathan is a freelance writer for multiple mainstream publications and CVO of RADIOPUSHERS. You can read more of his work by clicking here.
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