Finnaly the whole song leaked, a pure banger from 2007 off Missy’s new album, due next year.
Missy Elliott – Put It On You feat. Pharrell & Teyana Taylor
Singer Robin Thicke talks about his new album, ‘Sex Therapy,’ at Macy’s in Dadeland Mall. Robin Thicke hasn’t followed in his famous parents’ televised footsteps. Dad is Growing Pains star Alan Thicke; mom is Days of our Lives actress Gloria Loring. The ex-couple divorced when Robin was 7, but passed on some great musical genes — Alan Thicke is also a songwriter; Loring a singer. The R&B heartthrob’s career has really taken off — at 32, he’s already won three Grammys. Just don’t ask him to take off his sunglasses. Thicke stopped by Macy’s Dadeland Wednesday night to promote his new album, Sex Therapy (out Dec. 8), and help launch Hugo Boss’ new men’s fragrance, Element.
Those baby blues were covered up for a reason — exhaustion. ‘’I’m doing eight cities in eight days, they’re not coming off,” spies heard Thicke say under his breath. The same spies also heard his driver took him to the wrong Macy’s — downtown. Eek. No problem. The married father-to-be — wife Paula Patton, his high school sweetheart, recently announced the pregnancy — is a pro and put on a great show for fans. Thicke is particularly proud of his latest romance-inducing album, which boasts a slew of cool collaborators including Jay-Z, Snoop Dogg, Kid Cudi, Estelle and Jazmine Sullivan. “It’s in the tradition of Marvin Gaye’s Sexual Healing,” Thicke said.
“No matter where you’re at — whether you’re just starting a relationship or if you’ve been in a relationship a long time, a little sex therapy is a good thing.” Thicke, who taught himself to play piano around age 12, finds inspiration from the musicians he grew up listening to on the radio. “One of the first songs I learned was [Richard Marx's Right Here Waiting],” he says, breaking into song. “Wherever you go, whatever you do . . . because it was one note. Then I starting finding the chords.” After the appearance, Thicke had big plans — to sleep. “I can never stay in Miami more than 48 hours,” he said. “I’ll get into too much trouble.” Teddy Riley Produced the Snoop Dogg Collabo.
Robin Thicke – Sex Therapy (2009) (December 8th)
Producers & Guests: Jeffrey Bahsker, The Surf Club, The Neptunes, Swizz Beatz, Danjahandz, Ms. Lago, Polow Da Don, Jay-Z, Teddy Riley…
- Sex Therapy (Polow Da Don)
- Untitled feat. Snoop Dogg (Teddy Riley)
The brothers Thornton were in Harlem at Vault playing their album for the small group of fans that attended. So after all the Champion tune is the same as Birdmans version that we heard a while back. Pusha played 5 tracks of the album for the group which were ‘Door Man feat. Pharrell (The Neptunes)‘ (Which is the next single after Popeye’s), ‘Never Will It Stop feat. Ab Liva (Sean C & LV)’, Footsteps (DJ Khalil) and ‘Life Change feat. Pharrell & Kenna on the chorus (The Neptunes). After hearing this session, I barely can’t wait anymore for this album to drop.
Tunes That Have Been Played At The Session
- Door Man feat. Pharrell (The Neptunes) 01:00
- Never Will It Stop feat. Ab Liva (Sean C & LV) 01:50
- Champion feat. Pharrell (The Neptunes) 02:52
- Footsteps (DJ Khalil) 03:49
- Life Change feat. Pharrell & Kenna (The Neptunes) 04:35
Clipse – Til The Casket Drops (2009) (December 8th)
01 – Speak Of Freedom (Sean C & LV)
02 – Popular Demand (Popeyes) feat. Pharrell & Cam’Ron (The Neptunes)
03 – Kinda Like A Big Deal feat. Kanye West (DJ Khalil)
04 – Showin’ Out feat. Pharrell & Yo Gotti (The Neptunes)
05 – I’m Good feat. Pharrell (The Neptunes)
06 – There Was A Murder (DJ Khalil)
07 – Door Man feat. Pharrell (The Neptunes)
08 – Never Will It Stop feat. Ab Liva (Sean C & LV)
09 – All Eyes On Me feat. Pharrell & Keri Hilson (The Neptunes)
10 – Counseling feat. Pharrell & Nicole Hurst (The Neptunes)
11 – Champion feat. Pharrell (The Neptunes)
12 – Footsteps (DJ Khalil)
13 – Life Change feat. Pharrell & Kenna (The Neptunes)
14 – I’m Good feat. Pharrell & Rick Ross (Remix) (Bonus)
Popular rap music has, for too long, been mired in a place where vulgarity is accompanied by a challenge to guzzle liquor by the caseload. But a new day has dawned; a move toward refinement, polish and gentility as expressed by artists including Jay-Z and Common offers the promise of a new era. Enter Champain Era, a Virginia Beach-bred rapper emerging as a model for hip-hop stars in the Obama age. Champain Era is careful to not curse in his music. You won’t hear that racial slur that some black youth have claimed is a term of endearment. He holds a bachelor’s degree in marketing from Morehouse College in Atlanta, joining graduates such as Spike Lee and Dr. Martin Luther King Jr. Until this spring, Champain worked in the marketing department at Bank of America under his given name of Alan McLeod. By summer, he had chucked corporate life to pursue the creative life he’d watched from the sidelines for so long.
“I met (producer) Pharrell (Williams) when I was about 13 through my cousin,” says the 28-year-old, whose family runs the McLeod Masonry construction business. “I was always at the studio, hearing him play records.” In between meetings and shows this summer, Champain Era was laying bricks. He grew up in a pretty normal, two-parent home, where the sounds of Earth, Wind & Fire and Anita Baker kept the only child entertained when he would sit in his room and draw. He was a standout running back and defensive back for Green Run High School, going All-Beach in 1997 and earning a football scholarship to Morehouse.
By around 1999, Williams and his partner, Chad Hugo, aka The Neptunes, had begun making music for some of hip-hop’s biggest names.Over time, young Alan watched from the sidelines as they worked on the debut albums from indie R&B ingenue Kelis; Clipse, now big rap stars; and even the groundbreaking album from NERD., the group consisting of Williams, Hugo and their friend Shay Haley. “The more I sat in on sessions,” he says, “I was finding myself and my art.” Sitting in as The Neptunes created LL Cool J’s song “Love You Better,” he muscled up the nerve to spit out a few bars. “LL was like, ‘Wow, you got a flow!’,” he says. He gained confidence as an artist. When he’d come home between breaks from school, where he set up a small enterprise throwing parties and developing an affinity for the bubbly, he’d watch more sessions and develop his craft. Now, we’re soon to see the fruits of his long labor. Check out his Hoola Hoop tune featuring Scoopy on his myspace page, it’s pretty nice.
Check out these new stills of Leighton Meester in her new music video for her single ‘Somebody To Love’. The vid was shot in New York City and will feature Grammy Award singer Robin Thicke. This was the same video that Leighton sported some fierce eyebrows for a couple weeks ago. The video was directed by Zoe Cassavetes and also features Laker Girl Vanessa Curry and one of Leighton’s producers, Shahine Ezell.
It’s a cool evening in downtown Norfolk, Virginia, and the Clipse have just arrived at MacArthur Center Mall. After a long day filled with photo shoots and driving around town, the sibling duo of Malice and Pusha T cuts into Kincaid’s Fish, Chop & Steakhouse for a few drinks—none of the alcoholic variety. Malice, who’s nursing a migraine, orders a cup of Earl Grey tea with honey and lemon, while younger brother Pusha opts for his favorite Kincaid’s beverage, strawberry lemonade. Their divergent drink selections are representative of the group’s career. Hot and cold. Bittersweet. Over the course of the past 11 years, the Clipse have had the distinct displeasure of calling several labels home. They were originally signed to Elektra Records, in 1998, but got dropped after their debut single, “The Funeral,” failed to catch on commercially.
Four years later, the duo inked a deal with Arista Records, which then got absorbed by Jive Records in 2004. After an extended and public battle with whom Pusha T describes as “them crackas” that weren’t playing fair at Jive, the brothers were finally released to join the Columbia Records roster in 2007. By the time all the label logistics were settled and they had found a new home, the Clipse had released only two official albums. Talent certainly wasn’t the issue. In addition to being praised by hip-hop purists and critics alike for their crisp lyricism, undiluted crack rap and classic mixtapes, Malice and Pusha earned a platinum plaque for their 2002 debut, Lord Willin’, and a classic, XXL rating from this magazine for their 2006 opus, Hell Hath No Fury. Despite the critically acclaimed LPs, the Clipse always seem to find themselves in the midst of label drama, but somehow they’ve managed to keep a positive outlook.
“Anybody else that went through the red tape that we went through, they would of fell out to the wayside,” says Malice, 36. “I say this because I see it and believe it. It’s about having the product. You can’t always control what happens within the label, but if you—and this should serve as a lesson to anybody that does this—if you keep your craft right and do what it is that you’re supposed to do, fans will keep you around. It don’t matter what’s going on. We was gone for four years, and fans was still asking about us, and it’s because we have that integrity with our music every time.” Finally aligned with a label that they can see eye to eye with, the Clipse have spent the past two years crafting their latest offering, Til The Casket Drops.
Set for release this November via their Columbia-distributed Re-Up Gang Records, the album is a potent mix of raw street records (“Kinda Like A Big Deal,” featuring Kanye West), cocksure cuts (“Back by Popular Demand,” featuring Cam’ron), inspirational darts (“Champion”), radio-ready singles (“I’m Good,” featuring Pharrell Williams) and 100 percent reality raps (“Doorman”). “The energy around this album feels more like Lord Willin’ than Hell Hath No Fury,” explains Pusha, 31. “Hell Hath No Fury was a real dark, linear album. [It was] awesome, amazing, classic, but, at the same time, it was really angry… It was just handcuffs on that Hell Hath No Fury album. Lyrically, I think it was a beast. Beats, we feel it was a beast. But it was like it honed into a certain individual. We went directly for the purists’ neck with that album, and we got that, period. But Til The Casket Drops let us expand creatively.” For more of the Me ‘N’ My article, make sure to pick up XXL’s November issue on newsstands now.
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