Fresh off the heels of “Marvin’s Room” and “Dreams Money Can Buy,” the Toronto emcee has dropped yet another free download in anticipation of his forthcoming album, Take Care. “Trust Issues” is a spin-off of Drake’s feature in DJ Khaled’s “I’m on One” alongside Rick Ross and Lil Wayne.

Drake describes the record as, “my own little thing using some other thing I did. You know,” on his blog, October’s Very Own.

Take Care is scheduled for an Oct. 24 release—Drake’s birthday. in the meantime, you can catch the Degrassi star in Toronto headlining Ovofest on July 31 with special guests Rick Ross and The Weeknd.

Drake - Trust Issues


DJ Khaled - I’m On One Ft. Drake, Rick Ross, Lil Wayne


Drake - Marvin’s Room


Drake - Dreams Money Can Buy

What do you think of all the new material Drake has been releasing?

The frontman of the California rap collective, Odd Future has a released the video for his next single, “She” off of his label debut, Goblin.  The video follows Tyler, the Creator as he tries to encroach on the relationship that vocalist, Frank Ocean has with a girl new to the neighborhood. After some unsuccessful stalking, Tyler is arrested and harassed by an angry, suspecting father but that doesn’t stop him from winning over the new girl in the end. What? Thought all Wolf Hayley made was “horrorcore?”

Remember The Weeknd? He’s the Canadian crooner who had the blogosphere and music critics a flutter with the release of his debut project, House of Balloons. To our contentment, Mr. Tesfaye has released a video for his single, “What You Need.” Don’t expect The Weeknd to make an on-screen appearance though, actor Wesley Jonathan is the star of this project. Read more to peep the visuals.

25 Magazine explores the buzz surrounding Drake-endorsed, Toronto R&B artist, The Weeknd, and his debut mixtape House of Balloons. Review and stream after the jump.

Have you ever been lifted? Not by any foreign substance, but through music?

If not—or even if so—Toronto upstart artist, The Weeknd, born Abel Tesfaye, just may be your personal batch of the good stuff. Stamped with approval by fellow countryman, Drake who tweeted song lyrics from their track “Wicked Games” and a link to their mixtape, a plug by Rolling Stone, and a Tesfaye vocal and Jeremy Rose production combination that hasn’t been paired so seamlessly in R&B since Aaliyah and Timbaland; The Weeknd just might be on to something. We bang with it.

House of Balloons, the singer’s debut mixtape, wields a title that is a foreshadowing of where his music will take you—to the ceiling.

The nine-track EP brings you on a euphonious adventure, recalling 90s R&B, while adding a taste of futuristic funk and a touch of indie infusions. The second track, “What You Need,” speaks to this, opening with a looped sample, “Baby, now hold me close” – a line from Aaliyah’s hit song “Rock the Boat.” Hot and mellow, “What You Need” is perhaps the sexiest song on the mixtape.

The Weeknd – House Of Balloons by The_Weeknd

It is sample heavy. House of Balloons experiments with an assortment of genres, exploring British punk rock group Siouxsie and the Banshees’ “Happy House” on the title track “House of Balloons/Glass Table Girls” and doses of indie-rock duo Beach House on “Loft Music” and “The Party & The After Party”—two of our favorite songs on the mixtape. “The Party & The After Party” also makes a nod to The Dream with oohs, ahhs, and seductive crooning.

It is consistent. The tone of House of Balloons glides with little to no friction. All nine songs, collectively, tell a story of a weekend under the influence. The crowd is 21+. There are drugs, sex, money, love, lust, alcohol, parties, and fast cars—all on some spellbinding, fluid beats.

House of Balloons is dripping with drug sounds, which are whispered in each song’s rhythm and hinted at in the lyrics. “Even though you don’t roll, girl. You wanna be high for this,” Tesfaye croons in HOB’s opening track, candidly titled “High For This.” Need I say more?

House of Balloons is a soundtrack for the lives of many of our #dopeonastick constituents—and dope individuals in general—and it has been skillfully crafted, which everyone can appreciate.

So what’s all the hype about?

The Weeknd’s music is mood evoking. It makes you feel like you’re where he is and are on what he’s on. It’s sexy, grown, silky and distorted. Tesfaye’s vocals are melancholy and sickly sweet, almost hypnotic. Where many production newcomers fall short, Rose delivers. The Weeknd is fresh and delicious.

XO til’ we overdose? We shall.

-Brittany T. Epps

The Weeknd – House of Balloons | Download Here

Photo: chickensdontclap.net

Photo courtesy of www.myspace.com/bhineslovemusic

Kylee Coney spends seven minutes in heaven with Brandon Hines.

WORDS BY KYLEE CONEY

Brandon Hines is a young multi-talented artist with plenty of passion. His sultry, smooth voice and passionate lyrics on love’s trials and tribulations create the perfect combination for the amatory appetite. Hines developed an early love for music and embarked on his career at a young age—he was previously a member of a Detroit singing group, Vybe. But his music career as a solo artist began when he entered Howard University.

Brandon Hines may be following in the footsteps of famous alum like singers Donny Hathaway and Roberta Flack as well as music mogul Sean “Diddy” Combs, but he is paving a path of his own in R&B.

At Howard, Hines collaborated with other artists and producers to form Heavyweight Entertainment. His first single, “Overdose,” off his album Love Music: Fallin In…Fallin Out, was very popular in the D.C. area. The album was released in 2005 and sold over 7,000 copies.

Hines was also showcased on “MTV’s Total Request Live” as an “Unsigned Artist to Look Out for in 2008.” He later collaborated with R&B heavy-hitters such as Trey Songz, Troy Taylor and Johnta Austin. Currently, Hines is active in his efforts to conquer the music industry with his two new music projects, In Search of, which was released last February, and Higher Learning, which has yet to be released.

Read more as Kylee Coney spends seven minutes in heaven with Brandon Hines and chops it up on love, family and relationships.

25: How many siblings do you have? Is it true that your younger brother is an inspiration for a lot of your music material?

Brandon Hines: I have one younger brother, Chris Hines. He’s a musician as well. He’s very talented. We used to butt heads when we were younger but now that’s like my best friend. Yeah, he works really hard to perfect his craft. I try to encourage him to not make some of the same mistakes I’ve made [in the music industry]. It’s always magic when we get together to create. We feed off of each other.

25: What are some major goals that you set for yourself as an artist in 2010?

BH: It’s to be true to myself. To be real. I’m a human being just like the rest of us; I’m working on personal growth. I want to bring about persistent and great music.

25: The song “Overdose” is one of your most popular songs. What’s your definition of a girl who is your “perfect drug,” as described in the song?

BH: Well an irresistible woman who challenges me; who I can learn from; who’s very well cultured and well versed; a woman who is not afraid to let me take control but not afraid to speak her mind either. I usually like some type of conflict. I like a debate (laugh). Someone who wants to see me at my best.

25: A lot of your songs, such as “Fallin’ Out” and “Look Me in My Face,” deal with relationship issues. Are you a very romantic individual? Are you a strong believer in love, or do you more of a go-with-the-flow kind of guy?

BH: There are always two sides to the story. I’m definitely more of a romantic relationship type. I can go with the flow, but I’m in search of love. You may fall through different things, but you’re searching for your soul mate. I’m very passionate kind of guy.

25: Who would you say is your biggest supporter? Who’s that person you can always depend on to be in your corner?

BH: I would have to say my pops, my father. He’s very supportive. When I first came to my family like “I want to leave school,” my father could have wrote me off or discouraged me. But my father stuck by me and believed in me. My family provided me with the support to grow in my field and feel confident.

25: So do you have a special someone in your life now, or are you still searching?

BH: I’m definitely looking. I’m still in search ladies.

Photo courtesy of Wise Path Entertainment

Check out 25’s unsigned and undiscovered series, “The Breaks” featuring Kevin Ross.

WORDS BY KIAH MCBRIDE

Kevin Ross, a 22-year-old Washington, D.C. native, is new to the music scene but already has reason to boast. He’s already penned songs for Jamie Foxx and Usher. Ross also won Best Male R&B artist for the 2009 DMV Entertainment Music Awards and has caught the attention of Troy Taylor of Songbook Entertainment. Ross’s harmonic sound compliments his phenomenal piano skills. On “So Incredible,” released in 2007, Ross’s adoration for women surfaces through flavorful jazz melodies. But his 2008 track “Yes We Can” shows he’s not a one-subject artist. This inspirational ballad pays tribute to the Democratic Party’s nomination of Barack Obama.

Ross delved into music his junior year of high school. He grew up in a household filled with the sounds of musical legends such as Marvin Gay and Stevie Wonder. But it wasn’t until he bought a Yamaha 16-track digital mixer from a school buddy that he began to experiment with his own music. Faced with the dilemma of going to work or going to college after high school, Ross chose to attend Berklee College of Music in Boston. He received a bachelor’s degree in songwriting last spring. Ross recently moved to Atlanta to work on his upcoming album. Now ready to enjoy the fruits of his labor, Ross hopes to successfully transition from songwriter to the next record-breaking artist.

25 Magazine: It is said that you have a sound similar to that of Ne-Yo and Mario. How would you describe your own sound? What separates your sound from theirs?

Photo courtesy of Wise Path Entertainment

Kevin Ross: I think I have more tracks that have more to do with melodic possibility. I am very animated with my voice when it comes to live performances and also when recording. I am also more of an expressive singer.  I’m a writer, but I tend to write songs that target the emotions more so then having the most profound lyrics in the world. I try to tap into people’s hearts with my voice.

25: Since you are a trained musician do you help create your own instrumentals? And how do you come up with the ideas for your tracks?

KR: I do create my own tracks for the most part. I’ll play it on the piano and then I will have somebody who can produce it and tweak it, and I’ll co-produce it. A lot of times I’m co-producing on my material because a lot of that stuff comes from me.

25: You’ve performed at R&B Live D.C., and won an award as the 2009 Best Male R&B Artist at the DMV Music Entertainment Awards—how do you feel about the new attention DMV artists are getting?

KR: It’s a great thing; success is the result of hard work. It all has to do with the talent and caliber. If the city embraces somebody that’s truly talented and good at what they do, then they will flourish. A lot of people want to think that everybody in the U.S. is hating on D.C., but everybody’s been getting put on. It really has to do with the songs. Now we’re getting artists that understand what people want and that still bring the roots of D.C. into their music.  A lot of people should be thanking Wale right now; he isn’t accepted the way he should be for him to be out there the way he is. I went to one of his events a couple of months ago and they didn’t accept him the way I thought they were going to—from his own city.  I think we really have to show more support for our own artists and put out music as an artist that’s viable for the people. I think Wale has been doing a great job and I think we just had to wait our turn.

In songs like “Adore U” and “So Incredible” you pour out a lot of accolades to women. Are you writing for someone in particular? Do you have a “love interest?”

KR: I love women. My inspiration comes from women. Most are exaggerated experiences; they’re not something that has actually happened to me. I’ll take the root of my experiences or stuff my friends have told me and that I’ve observed and make a story out them.  I never try to leave myself that vulnerable where people can be like “well he said it in that record so it must be true”. You always have to leave something to the imagination like “did he really do that?” Every artist has their stories and they won’t tell it all because you have to leave something to the imagination.

Check out “That Girl (Winner)” from Kevin Ross

That Girl (Winner) – Kevin Ross

25: What project are you currently working on? Is it an album or an EP?

KR: It’s an album. I’m making songs now that could possible be an EP, but I really just want to do a whole body of work, put it to the side and start working on something else. I’ve been working on music for me and for other artists for about two or three years, and it’s really about time for me to release a whole body of work instead of just breaking off in tidbits and stuff like that I always want things to make sense so I think the next move is an album.

25: What is something unique about you that you think will catch the eye of the music industry and its fans?

KR: I’m honest; there are no strings along with me. What you hear on the record is what you hear live. So if you like me on my record then you will probably love me live. And I’m not saying that in an arrogant way, but it’s like when you see a record from somebody and you’re like “damn they sound good” and then it’s like “damn they actually sound just like their record” it’s an element of surprise. And that’s something I’ve always taken pride in. If I can’t do it on a record then I’m not doing it live.

25:What is something about you that fans might not know?

KR: I’m just a chill person and I use myself more like a vessel. None of this stuff truly comes from me; it’s inspired through God. I can only speak on my spiritual beliefs and I know and believe what I feel. I definitely believe in a higher being, and without that higher being I would be immobilized.

Check out “Withdrawal (Songbook)” by Kevin Ross
Withdrawal (Songbook) – Kevin Ross

Check out Kevin Ross performing “Adore U” at BB Kings L.A.

You can find more music from Kevin Ross at myspace.com/kevinrossmusic

Words by Aja Johnson

On Monday March 22nd, Radio personality Jeannie Jones “The Kitty of the City” hosted the release party for former Day 26 member, Que Mosley’s debut mixtape The Que Files. The event was held at Recess Lounge in Washington, D.C. Guests mingled to old school and new R&B and hip-hop and watched a video of Que, until the star of the show arrived. The district’s own DJ Quicksilva spun Que’s mixtape on turntables, while former America’s Best Dance Crew competitors Beat Ya Feet Kings entertained the crowd with their dance moves.

Que said his mixtape is “set-up material for the album,” and to just “enjoy it.” The Que Files is filled with club joints such as his new single “Shake Dat.” But his song “Well Overdue,” addresses his naysayers. “You didn’t even have the decency to say it to my face/you claim you couldn’t find me but you know just where I stay,” is a line from “Well Overdue,” possibly referring to how Day 26 broke the news to him via letter that he was no longer apart of the group.

Aside from his new mixtape, Que has a new reality show coming soon with his “special friend” Dawn Richard, formerly a member of Danity Kane and is now with Diddy’s new group Dirty Money. The show will be aired on MTV.

The Que Files is available here for free download.

Look out for 25 magazine’s video interview with Que at his release party soon.

Kylee Coney gives Marsha Ambrosius’ mixtape, Yours Sincerely a first listen.

Words by Kylee Coney

Her voice is unforgettable. Once you hear the way she effortlessly runs through octaves with her signature tone, you automatically recognize Marsha Ambrosius.  Ambrosius became famously known as the songstress of the popular R&B duo Floetry. Floetry’s debut album Floetic released in 2002, with songs “Say Yes” and “Getting Late.” As a solo artist, Ambrosius has collaborated with artists such as Nas, The Game, Jamie Foxx, Busta Rhymes and Wale. She has recently signed with Sony/BMG distributed label J Records. On February 20, 2010 Marsha Ambrosius dropped her eight-track long mixtape Yours Sincerely that showcased her femininity, sensuality, and her walk with love. Her first solo album is expected to be released June 2010.

1)     “Intro”- “How do I get through to you? I don’t know what to say to make you see how much I want you.” Ambrosius starts the mixtape off bold, proclaiming her heated and strong desire for her lover with strong vocals and a slow rhythmic ballad.

2)     “Let Me Go”- Two words: control freak-literally. Ambrosius sings of her vulnerability and compassion for this one guy.

3)     “Put it on Repeat”- “You’re like a ski-ski-skipping record, stay on repeat, can’t get you out my head.” She reveals how she is uncontrollably in love and wants to replay pieces of their relationship over and over again. The animated up-beat tempo makes you want to sing along, and Ambrosius’ playful tone towards the end of the song is contagious (“…my name is Marsha Ambrosius, I’m supercalifragilisticexpialidocious”).

4)     “She Don’t Matter”- This is a song that tells of the irrelevance of the “other girl.” Ambrosius pleads with her lover to let the other woman go, telling him that she could never love him as much as she does.

5)     “This Love”- Ambrosius collaborates with Glenn Lewis for a duet that reminisces on a love that is no more. The song resonates sadness from both singers who seem to be in a confusing relationship- caught between the greatness of the past and the broken state of their present. Ambrosius’ soprano voice and Lewis’ mellow high-tenor voice create a captivating combination for listeners.

6)     “Storm”- Maybe we all think we’re tougher than what we really are. Ambrosius admits that she talks a good talk but is not strong enough to survive if her lover left her.  “No shelter is big enough to protect my broken heart, please don’t leave me in this storm”.

7)     “Glass”- This song expresses the hurt that she has been through in all her relationships. She exposes a different perspective of herself, insisting she is more fragile than most may believe. Ambrosius sings “I’m like glass” accompanied with harmonious guitar and piano instrumentals that add to the song’s intensity and sensitivity.

8)     “Take Care”- Ambrosius is obviously anxious to see that special someone. She sings of how she wants her lover to hurry up and get home so he can take care of her. Ahhh, selfless love.

Nas remixes “Help Somebody,” off of Maxwell’s fourth studio album, BLACKsummers’night.

The ever-conscious Nas remixes “Help Somebody,” off of soulful R&B crooner Maxwell’s fourth studio album, BLACKsummers’night. The track mixes guitar riffs, powerful lyrics and Maxwell’s signature falsetto. Nas challenges listeners to address issues of immigration, global poverty and unemployment over a busy horn section, rapping; “I pray to god that new plan unfolds/ I gotta say it and it goes /I started in the projects now look what I accomplished/ to say nobody helped me, is nonsense.” With the prevailing lyrics and captivating band sound, its no surprise that Maxwell’s BLACKsummers’night has garnered six Grammy noms.

–Letese Clark

Watch Sade’s “Sizzle Reel,” an overview of the soul legend’s biggest hits including “Cherish The Day,” “Smooth Operator,” and “Paradise.” Sade will be releasing her upcoming album Soldier of Love in February 8, 2010.

Source: SoulCulture

“I’ll Do It All Again” is a single off Corinne Bailey Rae’s upcoming album, The Sea. Drops Jan. 26!

25 Magazine’s Kiah McBride reviews Robin Thicke’s fourth studio album Sex Therapy: The Experience.

Words by Kiah McBride

Robin Thicke has strayed from the classic soul style of his previous albums towards a more contemporary R&B sound mixed with Electronic and Pop. On December 15 he released his fourth studio album Sex Therapy: The Experience, and as implied by the title, the album oozes sexual allusions and stimulating beats. As if that isn’t enough to keep the audience begging for more, he also took the idea of role-playing to another level and took on the persona of a sex therapist through various tracks. He solidifies the album with a wide variety of guest artists including Nicki Minaj, Jay-Z, Snoop Dogg, and Estelle. In Spring 2009, Thicke co-headlined a six-week national tour with Jennifer Hudson and he performed at the 2009 Soul Train Awards. With the release of his new album, we don’t expect him to lose his stroke as he returns to educate us on the art of “sex therapy.”

Sex Therapy: The Experience takes on an erotic tone from the beginning, with the opening track “911” establishing a sexy patient-therapist relationship that thrives throughout the album. On “I Got U,” a woman says in a lustful tone “doctor I have a pain all over my body, can you help me?” in which Thick responds “we have some chocolate-covered strawberries, if you like.” Robin Thicke gives us a taste of his sexual clock in tracks such as “It’s In the Mornin’” featuring Snoop Dogg where he says “You know I like it first thing/ Cuz you let it marinate, let it marinate.”

Based on the beginning tracks it can be assumed that Sex Therapy: The Experience is solely built around—well—sex. However as the album progresses, Thicke gives us more than just that. On “Rollacoasta,” he combines a fun beat with the quick, pulsating sound of a tuba. On this fast-paced track he shows that he would do anything to save his relationship as he says “slap me in the face/punch me in the eye/ do me how you want baby/but just don’t say goodbye.” On the track “Elevatas” featuring Kid Cudi, he alludes to fame being a dark hole that many get sucked into, singing “I’m fallin, fallin/ I’m moving so fast I might never go back.” Robin’s change in song content does well to keep the tracks from becoming redundant.

 Musical variety and the narrative journey will keep the album in heavy rotation. You will easily find yourself craving for more of his sensual vocals as he takes you to a world where the stress of fame and maintaining relationships collide. His collaborations with fellow artists add to the credibility and flavor of the tracks. Fans may be surprised that some of the tracks do start to stray away from the risqué theme and become more about crooning for love. This however, doesn’t detract from the overall appeal of the album. Thicke’s gentlemen-like persona is all we knew before, but after entering his bedroom we now see that he has no place for softness.

NPR has released their list of the 50 Most Important Recordings of The Decade. Rap and R&B only accounted for about a dozen and included albums from the usual suspects, Jay-Z and Beyonce as well as the less expected, Little Brother. See the complete list after the jump.

The 50 Most Important Recordings Of The Decade

01. John Adams: On The Transmigration Of Souls
02. Animal Collective: Merriweather Post Pavilion
03. The Arcade Fire: Funeral
04. The Bad Plus: These Are The Vistas
05. Beyonce: Dangerously In Love
06. Bon Iver: For Emma, Forever Ago
07. Bright Eyes: I’m Wide Awake, It’s Morning
08. Burial: Untrue
09. Clap Your Hands Say Yeah: S/T
10. Kelly Clarkson: Breakaway
11. Coldplay: A Rush Of Blood To The Head
12. Danger Mouse: The Grey Album
13. Death Cab For Cutie: Transatlanticism
14. The Decemberists: The Crane Wife
15. Eminem: The Marshall Mathers LP
16. The Flaming Lips: Yoshimi Battles The Pink Robots
17. Osvaldo Golijov: La Pasión Segun San Marcos (Saint Mark’s Passion)
18. Green Day: American Idiot
19. Iron And Wine: Our Endless Numbered Days
20. Jay-Z: The Blueprint
21. Norah Jones: Come Away With Me
22. Juanes: Fijate Bien
23. LCD Soundsystem: Sound Of Silver
24. Lil’ Wayne: Tha Carter III
25. Little Brother: The Listening
26. M.I.A.: Kala
27. Yo-Yo Ma: Silk Road Journeys: When Strangers Meet
28. Mastodon: Black Stars
29. Jason Moran: Black Stars
30. OutKast: Stankonia
31. Brad Paisley: 5th Gear
32. Panda Bear: Person Pitch
33. Robert Plant & Alison Krauss: The Rising
34. The Postal Service: Give Up
35. Radiohead: In Rainbows
36. Radiohead: Kid A
37. Shakira: Fijación Oral, Vol. 1
38. Sigur Ros: ( )
39. Britney Spears: In The Zone
40. Sufjan Stevens: Illinois
41. The Strokes: Is This It
42. The Swell Season: Once Soundtrack
43. Ali Farka Toure & Toumani Diabate: In The Heart of the Moon
44. TV On The Radio: Return To Cookie Mountain
45. Various: Garden State Soundtrack
46. Various: O Brother, Where Art Thou? Soundtrack
47. Kanye West: The College Dropout
48. The White Stripes: White Blood Cells
49. Wilco: Yankee Hotel Foxtrot
50. Amy Winehouse: Back To Black

We think some notables are missing from the list, what do you think?

25 Magazine’s Letese Clark gives Mariah Carey’s 12th album Memoirs of an Imperfect Angel, a first listen.

Words by Letese Clark

Mariah Carey is back with her 12th studio album, Memoirs of An Imperfect Angel. Produced by Mariah Carey, The Dream, and Tricky Stewart, the album delves right into the love entangled pages of a diary, with entries on mostly heartache and good for nothing men.  Carey reminisces on “falling asleep on the phone and skipping school” in a classic high school love tale on the track “Candy Bling.”  On the track “H.A.T.E.U.,” Mariah can’t wait to hate the one man she’s always loved. The supersongstress concludes the album with “I Want to Know What Love Is,” an ode to knowing the highs of real love.  Memoirs of An Imperfect Angel is a heart tripped out on the ups and downs of love from beginning to end, and will definitely have the listener’s heart reminiscing on memoirs of their own.

1.  “Betcha Gon’ Know”:  It’s sweet, sweet revenge, for Carey in her opening track. Her man needs to watch out because she’s out to make him pay for the wrongs he’s done to her.

2.  “Obsessed”: The first single off the album, complimented with a music video poking fun rapper Eminem, is an aggressive Carey with straightforward lyrics assisted with an up-tempo beat.

3.  “H.A.T.E.U. (Having a Typically Emotional Upset)”: The relationship is over but letting go is so hard. This track is a soulful sequel to “Shake it Off” from The Emancipation of Mimi.

4.  “Candy Bling”:  Carey takes a trip down memory lane as she reminisces on a teenage love affair.

5.  “Ribbon”: “You got me wrapped up, packed up Ribbon with a bow on it.” Carey’s sold on someone’s love, is not going anywhere, and she is proud of it.

6.  “Inseparable”:  Another track about love gone wrong and hearts tossed to the side.

7.  “Standing O”:  Rihanna’s “Take A Bow” comes to mind as Carey sings to her cheating ex, “So cheers, toast, bravo to you.  Cus you’re the man of the hour.”

8.  “It’s a Wrap”: Mariah takes it back to her R&B roots on this one. She sings to her man, “once you’re gone, you’re not coming back” as she shuts the door behind him.

9.  “Up Out of My Face”: Carey pulls out her sass as she pushes this man out of her life. There is no repair for her heart as it has become hardened.

10.  “Up Out of My Face (The Reprise)”: A live band version of the original.

11.  “More Than Just Friends”: Mariah is going out on a limb and letting her friend know she wants more than just their platonic relationship.

12.  “The Impossible”:  The beat is mellow. She has restored love as her knight in shining armor comes and revives her broken heart.

13.  “The Impossible (The Reprise)”: Mariah Carey samples Jodeci’s “Forever My Lady” into a slower smoother version of the original song.

14.  “Angel (The Prelude)”: Carey’s voice floats over the beat of this prelude.

15.  “Angels Cry”:  The love is shaky again. It’s a worthy track but its sounds the same as the others; when she finds love again, it slips away.

16.  “Laughing (The Interlude)”: The title implies laughing but the lyrics say crying.

17.  “I Want to Know What Love It”: It’s the perfect ballad to close out the  tear soaked album. Mariah Carey starts the album with a broken heart and ends it with the search for love.

25 Magazine’s Tray Laws gives Melanie Fiona’s debut album The Bridge, a first listen.

Words by Tray Laws

New artist Melanie Fiona has the vintage soul vibe of the classic Motown era yet she still possesses the flavor to capture today’s hip-hop focused audience. This past July, Fiona’s hip-hop tastes were previewed on The Bridge mixtape she recorded with DJ Questlove, a live mix of songs from her then upcoming LP, and even Kanye West’s “Heartless.” Now Melanie Fiona shows how well she bridges today’s R&B, classic soul, reggae, and hip-hop on her debut album, The Bridge released on Universal Motown. The Canadian soul singer’s first single “Give it To Me Right,” leads an album filled with songs of life, love, and heartache. On the track “Monday Morning” Melanie belts about personal growth and moving on to pursue her dreams, and on “Teach Him” Melanie assures her lover some love he never felt before. The Bridge is a delightful compilation of deep stirring songs sung with passionate note worthy vocals; definitely a bridge worth crossing.

1. “Give It To Me Right”: Melanie Fiona sings with strong lyrics that drip with sexiness. The vocals are fresh, inviting, and compliment the beat. She doesn’t want it all the time, but when she does…give it to her right.

2. “Bang Bang”: A renegade’s theme song. This track definitely has a rock vibe. The vocals pair well with the beat.

3. “Monday Morning”: Once you have outgrown a place it’s time to move on. This track has a classic soul vibe. The harmonies are reminiscent of the girl groups of the Motown Era yet it’s still hip and relatable.

4. “Please Don’t Go (Cry Baby)”: On this track Fiona provides more of that Motown flavor singing about a love she wants to stay. She sounds amazing; however, the track is boring.

5. “Ay Yo”: This track provides insight on Fiona and why she decided to sing. A motivational song. The beat sounds familiar, and the vocals sound sincere.

6. “Walk on By”: Church is the first thing that comes to mind. Then once the beat drops it sounds country. This track is about a love that did her wrong and she wants him to pay for it.

7. “You Stop My Heart”: Another track with a vintage sound. The vocals sound good, but it’s starting to sound the same.

8. “Johnny”: The movie “Grease” is the first thought that comes to mind. Although the track is up tempo she sings about a love lost that draws you in and then you find yourself tapping your feet.

9. “Sad Songs”: Another track about love gone wrong. She vocally sounds great on this song, and the island vibe of this song is enjoyable.

10. “Priceless”: The song about love that is-priceless. This is the first song that sounds like her and not like some other era of music. The vocals are fresh and make me want to find a priceless love to sing about me.

11. “It Kills Me”: Fiona slows the pace down on with track. This track is relatable because so many people go through an unfaithful relationship that they may not want to give up.

12. “Teach Him”: The album closes with a sultry track about a man that needs a little love. Fiona sings of teaching him about the good side of love.

Five years ago, Teedra Moses came on the scene with the potential to take over the R&B game. She had it all: the look, the songwriting capabilities (she’s wrote songs for many notable R&B songstresses), and her album entered No. 10 on the Billboard Heatseekers chart. So what happened?

In 2003, Moses penned a song for Nivea, and in the following years, Teairra Mari, and wrote “Dip It Low,” Christina Milian’s most successful song, reaching No. 5 on the US Billboard Hot 100. Unfortunately, what seemed like the opportunity of her dreams turned out to be a nightmare. Moses received positive reviews for Complex Simplicity, but TVT Record’s lack of promotion for the album affected her record sales. Despite these hurdles, Moses proved that she was able to persevere. Even with the poor record sales, the songbird’s talent was not overlooked and she developed a strong following of fans.

Due to issues with TVT Records, Moses was unable to put out her second LP and was left to find her own resources. Working with the indie label left her with little experience. “TVT Records never quite grasped the R&B market and the necessity of maintaining good relationships in this business,” says manager Tamia Schannell. “It ultimately led to their demise.” Out of their list of artists, TVT had three active R&B acts.

As of now, Teedra is a free agent and has broken ties with TVT Records.  She released a few mixtapes over the years, her most recent effort in 2009, Lionhearted – Young Hustla Vol. III, sold out on her myspace. Never the victim, Moses self-reliance pushed her to overcome roadblocks. Now a few years later, stronger and experienced, Moses has never felt more alive, hungry to release from the pen, the lion she’s been taming inside of her.

25: A lot of your fans are awaiting your return.

Teedra Moses: As you know TVT went bankrupt, and they are totally defunct now. Before I go to a new label I basically want to put out some new music myself. I was supposed to put out a mixed CD last year, the Royal Patience CD from the Young Hustla Volumes, but I chose not to do it because I wasn’t in the right place. It wasn’t the songs that I wanted and I wanted to see what was going on contractually with record labels and now that’s cleared. So I’m just going to go ahead and put out a small mixtape titled, Young Hustla Volume 3. From that point on I’m going to shop for a new deal which I’m not even sure if I want at this point.

Rather than have a mass appeal to everybody and be a huge star on the cover of all the magazines, it’s more important to me that I get to do the music I want to do and that my vision gets out clearly to the people that are my fans already. Labels, sometimes try to make artists into packages. And you know its great cus God has blessed me with the record label at TVT. It’s given me a pretty broad fan base because they’ve been waiting around for a while. So I can’t really say right now, and unfortunately it’s been a couple of bumps and some problems with business situations, but it doesn’t change the fact that I’m writing everyday.

25: You said earlier, that labels try to make artists put out packages…how do you plan to avoid this?

TM: I love that people love what I’ve done, but if what I do next doesn’t get pushed, I really can’t concern myself with that unfortunately. I love my relationship with the people that appreciate my music. It is on a level that most artists don’t get a chance to have. I’ve talked to them by AIM, or email or text messaging. Like I have connected with people with my music and I appreciate that and I appreciate every person that comes out to see every show I do.

And the promoter for the club would ask ‘Who is she?’ And by the time I leave the club it’s like ‘O that’s who she is. People were singing her song. Somebody loves her.’ And I love that. And the crazy thing is that when I’m performing I am that person for that hour or however long I perform, and I can’t pretend that I’m not that. So it is one of the most important things that I stay true to myself. That’s why I think about the idea of going to a label and whether that’s important enough right now.

25: How have you grown as an artist since your first album?

TM: My first album was just shoved out. It wasn’t quick, but it was. I started writing and recorded songs with that album. ‘Caught Up’ was one of the first songs I ever completely wrote, recorded, and arranged and it was like ‘Yo I can do this it’s kinda cool’. But then it all started coming so quick. Paul Poli and I had musicians, and other talented people around me and we kinda like had a little camp. You always had creative help, and you know things changed and everyone went their own way, and I’m here left to do my second album basically by myself. I had to learn so much, because Shaffer Smith taught me a lot about how to arrange.

He could arrange something in 15 minutes, which it would take me 15 minutes or it could take me 5 days. Paul Poli pretty much was the first person for me to start writing with, so I just chose some of the tracks that he gave me. And after that process, on the second album, I had to pretty much A&R myself and to learn to speak to the producers and to get what I want. I really wanted to get my side of it, like the lyrics, the melodies and arrangement, and get that as tight as possible. To me it seems like these past few years have been college for me.

The first album came out- I think it’s a great album and I’m very very proud of it. Not in an arrogant way, but you know you experience things in your life, and you don’t really care if people pay it any mind, it’s like you just fuck with it. But I’ve had to learn business wise about this industry, by running into brick walls and jumping over these hurdles that normally, you just have a record label that helps out for all that and I didn’t really have that. And I’m not disrespecting TVT, because I appreciate them, and I thank God for TVT, because I was able to learn so much and I was able to do all the writing on my first album and hone my skills.

25: So how does things look for the next album The Young Lioness?

TM: I’m gonna take my time, and unfortunately with TVT, there was nothing I could do, and I praise God that I didn’t get stuck with them because as much I appreciated them, that wasn’t the home for me. I really am a creative person and I love being in a creative environment, and they make club music and that’s cool, but I want to be around people that understand that there are still music lovers out there. Sometimes when you’re creative, people don’t understand it. And sometimes if it’s not something that’s going to be jumping in the club they just don’t believe in it. I hate that they had to fall so quickly apart but for me to get off, I don’t really care.

I’m free now. And a lot of people don’t understand what I went through over there hustling so hard by myself. My camp was hustling so hard because they [TVT] really didn’t believe in what I was doing. And I don’t know what they thought was going to happen with that first album without no promotion, but I think it did a great job with no promotion. But it’s cool cus I’m still here making music and people want to stay in tune. You know I’m the friend that’s always there. My music will always be there.

25: Is there any music, past or present that is influencing the music you are doing now?

TM: I like a lot. I don’t pick certain people, at least consciously. Even like older artists, like I love Shaka Khan, but I don’t go to be just like her. I love Janelle Monae, and Estelle, and its just so many people out there that I love what they are doing and I don’t literately take it but they inspire me. Jazmine Sullivan as well. I love her too.

25: Are there any other ventures outside of music that you would like to do?

TM: I really love and devote a lot of my time and my attention to making music because of how hands on I am with it. A lot of people are out making fashion lines, acting, and I think I have a slight case of ADD because I’m really focused when I want to do something good. I’m not the kind of person that can spread myself thin and be good at everything. I really love furniture and designing furniture and refurbishing things like that, but that’s really something that I have to wait for. I have so much responsibility with music and I really, really love clothing.

Before I started making music I had an accessory line called Sagittarius and I kind of stopped doing it because I had to start focusing on music. Now that I’ve gotten more comfortable with putting together my music, I am really considering putting Sagittarius back together, but these things will all follow. I just want to get my music out consistently and then those things will come. Another important thing to me is that I have to be a good mom. And I don’t care about making clothes or furniture if I can’t be a good mom. I don’t want to spread myself too thin if I’m not paying attention to that.

25: Would you ever consider doing more than one venture at a time?

TM: I can do more than one thing, I just have to master one first. I just feel like I haven’t had the chance to expose my abilities in music like I want to. So once I get that consistently going, then I’ll really start focusing on Sagittarius and pushing for my furniture store. But first things first my mom used to say, don’t be a jack of all trades and a master of none. Parenting is the first thing I have to stick with and then music came. I think it chose me. It was something that was in my family and that I needed to make money but I never left it. You know, I have to be committed to this first and master it before I move on to anything else. I am a person that is multi-talented and I thank God for that. But I want to master it.

25: What is your motivation to keep doing your music?

TM: I really really love it. And second because I was writing for a lot of people and making money, and going different places, and it’s sad to say that making money was a motivation, but it was the truth. But after awhile that wasn’t fulfilling enough. I was pushing myself to get as much out of myself as I could, so I just fell back for a second to really start seeking my focus. My motivation clearly was to make hot shit. You must love to ride around and listen to your records. I love TO HEAR MY SHIT and say like ‘you did that’. And never stopping my dreams because I have twin boys and they know that this is my dream, and since they were little they’ve seen they’re father go after their dreams and they’ve seen me accomplish them bit my bit. I think for me to ever stop going after my dreams would make me less of a parent.

25: At the end of the day, what do you want people to say about Teedra Moses and your work?

TM: First and foremost, I’m a child of God, and I’m a mother that’s trying my best. I’m hoping that I do a great job. And I’m thankful for my mother because she did a great job raising my brothers and sisters. But I want to be better, because that’s what she raised me to be. Secondly I want to be a person that extended whatever I had to the world to make it better. Me and my best friend is starting a non-profit organization called the Young Legends that is based on building esteem for young people because it’s really hard to be strong in yourself especially these days, with everything that’s coming at you. Everybody wants to be famous, whether it’s Youtube famous, flawless skin, hair down their back, whitest teeth, and sometimes I look at the television, like ‘Are these human beings?’ And I think do what you feel.

If you change your whole look and just carve your whole body out, that’s your business. But I want to extend to younger people to feel comfortable in who you are, and even if you make a decision to change yourself, do it because its what you want and not because other people want you to do it. Musically I want to be consistent and I want people to say that as an artist I tried and she never said ‘hey fuck it I’m just gonna put out some shit’, she always pushed herself to the next level to do good work.

25: And will all these experiences come through on your future mixtape and albums?

TM: I hope so, I think I take a strong stance in my songwriting, on the Young Lioness especially, one of the reasons I called it the Young Lioness and the reason why I am calling my mixtape Lionhearted is a reminder to me that I am courageous. That I’m strong, that I’m not gone let a nigger run over me, that I’m not gone let this industry run over me, that I’m not the prey or victim but always the victor. It will come through in the music.

I work to make music that not just woman, but anybody can listen to and be like ‘that’s right I am good I can do this I’m confident and here I am out here in the world’. Because the world can be a very cruel place and you can have so many people that love you and still feel lonely. I’m not saying that’s my position. I feel very loved and I don’t feel lonely, but I look to see more than what’s just going on with me and it will come through. And I think when people listen to at least three or four songs you can tell who I am and where I’m coming from.

Chris Brown hits us hard (no pun intended) with “Smash,” the classic tale of groupie love. Breezy came a long way from his “Young Love” days as seen on “Take You Down.” But his confidence about having his way with the opposite sex has further exploded. Auto-tune fits good on Breezy on the obviously unfinished track. His voice powers up the already hyperactive beat. The only low point on this track, is CB’s groupie going ‘downtown like the stock exchange.’

Listen here:

-Natelegé Whaley

The Dream is back at it again. The self proclaimed “Radio Killa” releases his sophomore album Love vs. Money Tuesday, and fans wonder what he has up his sleeve this time.

The singer/songwriter came on the scene successfully in 2007 with his “Shawty Is a 10″ (Love Hate), and is also responsible for Beyonce’s quintessential ladies anthem “Single Ladies (Put a Ring on It)”. Yet, like far too many über-talented writers, he gives most of his good stuff to everyone else.

Love Vs. Money in it’s entirety is not a disappointment, with the melodic, chart-topping hit “Rockin That Thang” leading the pack as one of the best songs on the album. Not far behind is The Dream’s revived version of The Police’s 1979–dance-groove “Walkin on the Moon”, featuring a vocoder-less Kanye West (the way he should always be). However, The Dream shows signs that he may be running low on metaphors, especially on “Put It Down” where he compares his affection to a “monster truck” and a “white tee’d thug”, over a beat too hype to get it cracking to. The title track, “Love vs. Money”, has one of the most enthralling beats on the album and gives off a paranoid feel as he sings about losing love to what else, but money ( Instead of loving you/I was making it rain…). The melody and the sound of glocks popping are puzzling, but the point of the song becomes more clear after listening to “Love Vs. Money Part 2.”

The Dream gets his R.Kelly on in “Sweat It Out”, breaking down article-by-article what piece of clothing he wants to remove from his girl, so he can “properly put it down” and “sweat her hair out”. Fortunately for her, The Dream forewarns her to “call Latisha” her beautician before he takes action, so that she can get her hair re-whipped in the next morning.

Overall, Love Vs. Money saves itself from the evil pitfalls of the “sophomore curse”, but The Dream does not match the standard he set with his surprisingly pleasant debut Love Hate. The album still has worthy cop-ability though, and he proves he can still come correct…even if it is on someone else’s joint.

- Maya Rhodan

It’s been a minute since my last Crack Music blog, but trust I’m always on the lookout for the best ‘stuff’ to bring to 25 readers, in order to further their addiction to ‘good music’. And I have to tell y’all  that “So Beautiful” by Musiq Soulchild has to be the ultimate crack!

When I first heard the song, it stole my heart. Sexy yet classy, Musiq puts out another serenade that is destined to be a classic.  If you loved “Love”, “HalfCrazy”, “TeachMe” or any of the other soulful masterpieces that this brother has consistently managed to stir up, then you will have ‘So Beautiful’ on repeat as well.  This song makes you stop and stare about that special lady in your life, and if you are solo dolo then it have you curious about what it feels like to have a wifey. Also ladies, like me you’d want your man singing this song to you all night long.

And of course lastly, the video above complements the beauty of the song. Once again Musiq Soulchild, not only represents that Philly soul, but also represents that raw, authentic emotion and soul of R&B.

-Natelegé

Looks like Keri is after some pre-album release publicity with her latest remix/diss track of “Turnin Me On” Ft. Lil Wayne & T-Pain. Guess which R&B vixens she’s checkin.

While Keri Hilson may have proven herself to be  a master songwriter her diss records aren’t so straight forward. The remix tells a certain someone to “check the credits, ho” and makes some suspicious references that can be tied to both Beyonce and Ciara such as a an “Irreplaceable” and Atlanta spin-off but we’ll let you be the judge.

Download Here [shouts to SS]

Check out Keri Hilson’s latest, “Knock You Down” feat. Kanye West & Ne-Yo. Read more for download.

Download Here [shouts to 2dopeboyz]

Sure we have Erykah, Jill, and Musiq among others but we cowardly label them neo-soul so when we bump crap like Cassie or Cherish we can’t compare them to India or Amel. I mean seriously, will we be singing “Get Me Bodied” ten years from now? There’s no longevity, no quality, no feeling. Everything these days is made in the moment for instant success and ring-tone sales but the heart and soul of R&B is gone. We love to say the white man stole it but we didn’t have to buy it. If we chose not to listen “Put It In Your Mouth” and Eamon’s “Fuck It,” rhythm and blues would probably be singing a different tune.

We’re not going to remember Chris Brown the way we did Michael nor Beyonce, Diana Ross. The singers don’t need to step it up, we do. Stop listening to crap. Talented artists like Chrisette Michele and Janelle Monae are treading the waters between above and underground because we’re too busy sweating R&B pop stars. Go buy Erykah’s new album, buy Jill Scott’s last joint–keyword buy–and download Monae’s EP. Take back music before we lose our categories in the Grammys and start calling Rhianna the new queen of soul–just look what happened to female rappers, they peaked in ’97 and now we’re even calling people like Trina, artists.

-HER

Don’t let the title fool you, this 21 year old is making a name for himself. DJ Anonymous is a Howard University Alumnus and acclaimed DJ in the DC metro area. He graduated from Howard University in 2007 with a B.A. in Audio Production and along the way has interned for MTV, Def Jam, Atlantic Records, and released several mixtapes including Addicted to the Game, and The Best of Beyonce. DJ Anonymous was Howard University’s official 2007 Yardfest DJ, and has used Howard University as the launch pad for the rise of his career.

The Grind: So tell me about this mix-tape you’re selling right now?
DJ Anonymous: This [mixtape] took the most work! I decided to tackle different markets and worked with a different combination of artists such as DJ Fah-D, DJ P-Cutta, and DJ Rockko.

TG: Who are your influences?
A: DJ Funkmaster Flex, he used Deejaying to sponsor himself, DJ Jazzy Jeff, because he was the 1st deejay to make the “Transformer Scratch” popular, DJ Quicksilver, who used his radio show to showcase his skills, and of course my mother. She always played older records in the house, and that’s where I developed my “old soul” as a DJ.

TG: What do you feel is necessary in order to become a good DJ?
A: As a DJ there are different areas you need to master in order to be successful. You have to have good Networking skills, also you need to be able to market yourself, and have good [DJing] skills overall.

TG: So, what do you think sets you apart from all the other up and coming DJ’s?
A: My promotional genius. No DJ in the area promotes them self better than me. The most important thing to do as a deejay is to be good at promoting yourself.

TG: Can you give us one of your self-promotional tricks?
A: I usually pick up the random flyers I see all over campus, and call the numbers on the back to network.

TG: So is there anything else you do besides DJing?
A: I love promoting, and I’m currently managing an artist on campus, Purple, a female Rapper from Oakland, California. I plan to produce and arrange her upcoming mixtape.

TG: What can we expect of you in the future?
A: Well, I want to release an album called Mekka Musik; a collaboration of the hottest artists in H.U. Also, I’m going on the road with the upcoming singer Tiffany Evans in the winter. I’m trying to expand myself, because if you do all your events in the same location it devalues your rep.

Chris Brown makes a smooth transition into his newfound adulthood with his sophomore effort Exclusive. He takes familiar themes of young love, cheating and lust adds his own spin without over maturing his work. His lyrics are genuine and appealing while still maintaining his youthful swagger. This is especially obvious in the track “Hold Up” featuring Big Boi from Outkast; “Hold up/ Wait, wait a minute/ I’m genuine wit it/ I aint tryin’ to put no pimpin’ in it.” This album is filled with catchy yet addictive tracks that don’t seem overworked, like Take You Down, which inadvertently deals with the subject of sex, a topic most would consider farfetched for Chris. Even so, this R&B heartthrob comes off like a seasoned vet, and lets it be known that “It ain’t my first time/ but baby girl we can pretend;” a stretch from his innocent beginnings. While in the song “I Wanna Be” his vocals sound reminiscent of the coos of Omarion and “With You” seems a lot like a production flashback of Beyonce’s “Irreplaceable,” Chris manages to make the album all his own. The positives certainly outweigh the negatives and dispel the sophomore curse by showing his growth and potential.