V. Bozeman - ONE MORE TIME (Prod By Timbaland)

Here's Unreleased Track from V.Bozeman The former Signee Artist in Mosley Music Group This Track was Previewed by Timbaland live via hang/w app Back in 2015 it's also co-Produced By Jim Beanz, definitely this one from her Unreleased Album "Music is My Boyriend" 

Mosley Music Group CEO Gary Marella // Interview 🎙

The continued success of Verzuz — as well as Marella’s Mosley & Mono Music Group management firm, whose clients are up for four Grammys this year, and his new venture with Timbaland Beatclub, set to launch in the second quarter of 2021 — help earn Marella the title of Billboard’s Executive of the Week. Here, he discusses the origins and evolution of Verzuz, where things can continue to move from here, the experience of being a producer manager amid the pandemic and his new plans with Timbaland.

How did Verzuz get started, and what key decisions have you made to help it grow into the actual business entity that it is today?

Funny story. When Swizz and Just Blaze did a battle at Swizz’s house a few years ago I was watching on Instagram. And as I was making comments, I quickly realized I was signed in under Timbaland’s Instagram when I saw the feedback such as “Timbo’s in the house” and “Tim Vs Pharrell.” Fast forward, Swizz challenged Tim on July 14, 2017, at the Mayweather fight press conference in New York. I remember calling Tim and telling him right after Swizz challenged him. Tim quickly accepted the challenge on his Instagram.

A year later we had them perform at Hot 97’s Summer Jam, June 10, 2018, and it was pretty incredible to be reminded of the caliber of songs these two have been a part of over the past 15 years. For the Hot 97 show, we had a couple days of rehearsals and looking back now I wasn’t even aware at the time that the guys weren’t friends. There is something really special that’s happened this past 12 months that the press hasn’t talked much about, which is I’ve seen these guys become like brothers this past year and it’s all been over Zoom and FaceTime. They haven’t even been together in person once this past year.

After the Summer Jam performance there was quite a buzz, so we starting looking into bringing this on the road and the numbers just didn’t make sense. Then on March 24, 2020, Tim went on his IG Live and was calling out Swizz to join and the guys battled for five hours with 25,000 people watching and the rest is history. At the time, we thought 25,000 viewers was massive.

After that, Tim, Swizz and his manager Monique Blake and I focused quickly on putting the subsequent battles together. We started by focusing on producers and songwriters and then it naturally transitioned to the artist battles. We have always focused on keeping Verzuz true to the culture and I think we’ve done a great job listening to what the people want. We’ve made some mistakes along the way, but we quickly fixed them.

What factors go into choosing participants and sponsors?

Choosing participants lately has been by committee. Swizz, Tim, [Apple Music executive] Larry Jackson, Monique and I have thrown out suggested pairings to make sure it feels right, then we discuss with the artists to make sure they are on board. For each battle, it has varied on who from our team starts the conversation with talent, but since we all have relationships either with the artist or manager it’s been a smooth process.

In terms of sponsors, we’ve passed on a lot of major brand opportunities simply because they didn’t align with us as a brand.

We have paid the artists a share of our sponsorship revenue in every battle unless they had a competing brand to endorse. Ciroc was a natural partnership based on the relationship with Swizz, Tim and Diddy. We actually started hashtagging and pinning Ciroc in our Instagram Live feed before having a deal in place with them. Ciroc has been a fantastic partner because they understand the culture, which I attribute to Diddy, Deon and their team. We’ve had several battles with artists that had deals in place with other alcohol brands that they needed to support and the Ciroc team respected that.

We’ve had some other sponsors that we noticed some negative comments on. We did those so we could pay the artists more money, and of course we received some of that income as well. We quickly learned it’s not easy with multiple sponsors wanting product placement that also require deliverables from the artists. What changed recently is our format with us having to go back to the artists being in two separate locations for the time being due to COVID restrictions. This created some hurdles for us having to set up two separate shots with each camera closer to the artist, allowing less room for a tastefully, well-put-together sponsor table set up next to them.

I respect brands that need product placement. My concern, however, with us having too many partnerships that require artist deliverables and product placement is it makes our platform start to feel like a race car driver’s jacket. I am hopeful more brands aren’t as concerned with product placement and more focused on an organic integration with us and the talent.

How did the Apple deal come together?

Before the collaboration with Apple, we had conversations with several other potential partners. It ultimately came down to us being able to keep Verzuz on Instagram with whomever we partnered with. Larry and the Apple team understood the value in us staying on Instagram while also creating a new audience that would now be watching Verzuz on Apple Music/TV in high-definition video with high-fidelity audio. Utilizing the Apple production team for each battle has also been a huge help as well during the pandemic.

A company that doesn’t get enough recognition is Roland. From the beginning the Roland team offered their services and equipment to fix our technical issues on the Instagram feed and still to this day are right there with us and have never asked us for anything but a few mentions. I should also acknowledge Fadia [Kader] and the Instagram team who, from day one, have done their best to support us.

Verzuz started during the COVID lockdowns as a kind of escape for fans. How do you maintain interest, even as the novelty factor wears off and fans are no longer in quarantine?

Although it feels like just a cultural moment to some, Verzuz is much bigger than just quarantine entertainment. Hopefully with more people getting vaccines in the next three to six months we are going to slowly see more tour dates announced and people getting back to their normal lives. Los Angeles just lifted the stay-at-home order this week. Miami and other major cities are operating as if there isn’t even a pandemic. I think what we are going to see now is more artists using Verzuz as an announcement, not just for their new project, but to announce their tour dates in 2021 and so on. We have more artists wanting to do Verzuz than ever before. We have about 10 battles already confirmed with major artists coming up.

Now Verzuz is expanding with this new NFL partnership. Where else can this concept go?

We’ve been planning on launching VerzuzSports for quite some time and the NFL was the first major league we were able to get our deal locked in with. My partner in crime from day one, Monique Blake, and I have been juggling a lot. We have another league announcement coming very soon which also fits the culture of Verzuz well. VerzuzComedy is coming soon as well.

How has the management business changed amid the pandemic? How have you had to adapt?

Aside from having to shift more of my time from management to running Verzuz and Beatclub, it still feels the same, other than not getting my producers in the same room as often with artists. The concept of a Zoom session was pretty hard to swallow in March, but it’s the norm now. My clients Timbaland, Fede and Angel just had the No. 1 rhythm single in the country last week with Saweetie’s “Back To The Streets,” Rance co-produced the biggest song of 2020 with Roddy Ricch’s “The Box.” Timbaland and a major artist just finished a song and they didn’t work in the same room on it. Tim played the track on Beatclub’s Twitch page, the artist heard the track and loved it. Tim sent the track and the artist cut the record and shot the video last week, which is dropping next month. That’s one of the reasons Tim and I started Beatclub — artists don’t have to be in the studio with the producer.

What inspired the idea for Beatclub and how has the concept been received so far?

Timbaland and I founded Beatclub in mid-2019, which we are launching Q2 2021. We’ve built a great team of 15-plus employees this past 12 months, which I am proud of. The reason we started Beatclub was we began to notice a huge shift within the producer community in how they were monetizing their music and beats. There was a new digital economy that grew quickly in the creative space driven by the independent artist buying and leasing beats online from new, up-and-coming bedroom producers.

We also quickly recognized that many of the existing platforms that were involved in this new form of business were not allowing creatives to retain their publishing or participate in the back-end royalties of these transactions and also were highly curated. By that I mean they didn’t have the top producers and songwriters on their platforms. I also noticed the major label system and publishers were still somewhat disconnected from this part of the business.

That’s how Tim and I realized that we can offer a solution at scale through our new platform Beatclub. The idea was to create a community-driven marketplace of highly-curated quality, where music creators could easily connect with music buyers, while still retaining their rights. We want to provide as much value, support and opportunity to the music creators in the world as possible. We not only help facilitate meaningful transactions between independent artists and producers, but also provide A&R opportunities for placement in film, TV and major label projects. In addition to A&R curation being one of the most important components of Beatclub, we are focused on collaboration and education as well.

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Keri Hilson - In A Perfect World 💿 (10th Anniversary)

KERI HILSON’S DEBUT ALBUM STILL REVOLVES TO THIS DAY.

On March 24, 2009, exactly 10 years ago, Keri Hilson released her debut album In A Perfect World… via Mosley Music Group/Zone 4/Interscope Records.

In the years leading up to the album’s release, she worked as a songwriter who co-penned hits for artists like Mary J. Blige’s “Take Me As I Am” (2005), Pussycat Dolls’ “Wait A Minute” (2005), Omarion’s “Ice Box” (2006), Britney Spears’ “Gimme More” (2007), Bobby Valentino’s “Anonymous” (2007), and Timbaland’s “The Way I Are” (2007).

 In A Perfect World… was originally slated to release in mid-2008, following her and Timbaland’s international success with “The Way I Are.” That year, she released a couple of singles, along with accompanying music videos: the emotionally-tapped “Energy” and the futuristic-sounding “Return the Favor.”

Still, the release date for Perfect World was bumped multiple times. In a later interview with MTV, Hilson remained optimistic about the entire situation. “I have had many [release dates], but it’s all for a good cause,” she said. “The label wants to make sure the album has its proper release, and I’m thankful for that. Very grateful, even though fans look at it like it’s a bad thing.”

It wasn’t until Hilson released her saucy single “Turnin’ Me On” featuring Lil Wayne in December 2008, when the album release looked more promising. In A Perfect World… eventually orbited its way to fans across the world a little over three months later.

The majority of the 14-track album was co-produced by Timbaland and Polow Da Don. It included additional features from Kanye West, Ne-Yo, Keyshia Cole, Trina and Akon. Kanye and Ne-Yo were contributed to, what would become Hilson’s biggest hit, “Knock You Down.” The warming tune peaked at No. 3 on the Billboard Hot 100 and earned Hilson a Grammy nomination for Best Rap/Sung Collaboration at the 52nd Grammy Awards in 2010.

Hilson not only co-wrote the latter Timbaland single, which appeared on his Shock Value album, she was also a featured artist. The desirable track reached No. 3 on the Billboard Hot 100 chart, which only helped bring worldwide name recognition for Hilson.

When it was time for Hilson to shift gears from songwriter to solo artist, she recalls it being pretty smooth. “Honestly, being a songwriter was like the more realistic side but the dreamer Keri had always dreamt of being an artist,” Hilson tells Rated R&B.

“I remember it being a very welcomed transition. As a matter of fact, during that time, I was actually signed and shelved for maybe three or four years before I actually came out. So, the transition didn’t go exactly as it appears for everyone else. I was already signed as an artist but I just had to wait for my turn.”

Although she had to wait her turn, she didn’t let any time go to waste. As mentioned previously, she used the time to focus on songwriting. “It allowed me the opportunity to grow financially,” she explains to Rated R&B.

“When you get signed, you have an advance and you sign your deal and you have to work solely on your project. If that gets shelved, and you have no other means of income or livelihood, then you’re jacked. It was a really welcomed thing for me. By the time I came out, it was awesome. God’s timing.”

“Knock You Down” featuring Kanye West and Ne-Yo became a hit, peaking at No. 3 on the Hot 100 and also scored you a Grammy nomination. What do you remember most about recording this song?

Ne-Yo was already on the song but if you could remember that I shot a video called “Make Love.” It was just like a teaser video for my album. So, Kanye [West] agreed to do it. It was the same day my album was being mastered in Canada. After we were nearly done the filming, Kanye asks, “So how’s your album coming?” He’s like, “I love your work. I can’t wait to work with you.” I said, “It’s going really good but it’s something missing.”

He made a face like, “What do you mean?” I said, “The only thing that’s missing is you.” He said, “Oh, well can I do it tonight?” I said, “Yeah, it’s actually being mastered tonight so you have to do it tonight.” He was like, “Yeah I mean that.”

He had an event to go to — he and Amber [Rose] were at the shoot. He and Amber went to their event, then really showed up to the studio. I was super honored. I was just playing him records because he wanted to hear what I was working on. I played him the song “Alienated” because I had wanted him to get on that. He liked “Knock You Down” but I was like, “Ne-Yo is on it already. I don’t think that song needs two features.” [laughs]. He just insisted and we let him do the verse. He killed it. It was long as hell and there was a lot a drama because we had to shorten his verse. It was like 60 bars! It was so long. We had to cut it down to like 20 bars — even that’s a long verse.

“Get Your Money Up” featuring Keyshia Cole and Trina is an anthem. How did it come together and what led you to use Auto-Tune?

That idea was started by a rapper name [Earl Hayes], who ended up involved with that murder-suicide with the dancer Stephanie [Moseley]. He actually began that song idea just in a night with Polow Da Don. When I heard it, I loved it. He did it in Auto-Tune because he’s a man singing a girl’s song, so he did it heavily Auto-Tuned. It was really interesting. I’m not a person that needs Auto-Tune but I like it for the effect, so I kept it.

Teyana Taylor was originally featured on the “Get Your Money Up.” Were there any other artists who were considered for the part?

To be honest, I don’t ever recall hearing the Teyana version. Maybe Polow had her do it. Maybe he sent it to her or she sent it to him. I’ve never heard the Teyana version. I know there was a Lil Kim version that I did hear. And maybe there were others. It’s possible, that’s kind of the way Polow works [laughs].

“Slow Dance” is a fan-favorite. What do you remember most about working on this song with Justin Timberlake?

I love Justin. He was like kind of a mentor to me during that time. We were all at Timbaland’s studio — Thomas Crown Studios. I was working on my stuff. He was working on his stuff. And the track was playing. Justin was doing a driveby walking by our session. We just start playing around with some Prince-ish melodies. That’s really how it started. We ended up beginning the song together, then he eventually went on to his own session and then I just finished it. I finished writing it and Jim Beanz — I had him doing some arrangement on it after it was finished being written, which is he’s really good at that. I love my arranging now, but when it comes to wanting other flavors, to me that’s Jim’s expertise. I had to color a few records on my album. I call it coloring because it’s kind of like filling in gaps and filling in the blanks of arranging.

The latter part of the album finds you in a vulnerable place. You wrote vulnerable songs for other artists in the past. Was it easy for you to open up this time as the artist?

To be honest, that’s not hard for me at all. By the time I had worked on my album, I realize that was my strength. My strength was saying things women would not say or talk about. I think at that point I had realized my strength was talking about things that did not make me perfect and that’s why I named the album In A Perfect World... I was like, “Listen, the last thing we need is another woman coming into the game pretending to be perfect.” I’m not saying we didn’t have those artists — we, of course, had the Mary J. Blige’s. I think that’s why I was able to write with some of the more vulnerable artists because that was the perspective that I became so gifted in.

I was always disappointed that the most vulnerable records weren’t released as singles. I still feel a disappointment that people don’t really what I truly am about. The more vulnerable side of me is what I wanted people to hear but my label must’ve thought differently. Of course, I have pop appeal but you can be pop and talk about some real shit [laughs].

“Tell Him The Truth” is pretty vulnerable. Was there a particular situation you went through that you were singing about on this record?

I’m going to be honest, it’s about cheating. It’s about being curious as a young person. I was in my early 20s when I wrote that. I had a boyfriend at the time and there were things that I experienced. I’m grateful that I did because I learned early how it feels to hurt someone and how it feels to be hurt. Having that perspective was important to me and writing about that was equally as important. It was kind of therapy for me at that moment. I remember crying as I was writing it.

In addition to the solid tracks on the standard album, you also had great songs that were released as bonus tracks.

Honestly, that hurt me so bad because there are records that I felt needed to make the main album not just the international or the deluxe.

Yes, “Quicksand” would’ve been a great fit on the album…

That’s good ole politics because [“Quicksand”] was a better record than a couple of records that made the album. You have to play politics. The execs have their feelings. Your production company and your label have their feelings. I had to play the politics game but never again. I’ll tell you that!

So, you believe politics created hurdles for this album?

I feel like for as good as that album was, it could have been 10 times better if I didn’t have to play politics. The things that I believed strongly in, worked. The things I had to play politics in, flopped. Singles that I had to kind of be forced to do didn’t work. The things I truly believed in did work.

Any last remarks looking back at In A Perfect World… 10 years later?

First of all, I can’t believe it’s been 10 years in some respect. But in other respects, it feels like ages ago. As a human being, I’ve just grown so much since that time. I’m still proud of that. That was my first baby and I really put a lot of care into that project. The outer space stuff wasn’t intentional but there was a lot of intention in every other realm of the album. It was a couple of years in the making from start to finish.  I remember being in tears walking down Best Buy when it released. I was just in tears. That album was a cumulation of a dream that I had been pursuing for 12 years to that point. Songwriting for eight or nine years was a fallback plan. I just knew if I didn’t give up, that it would happen. It was an emotional time. It was like I could breathe for the first time. I was finally seeing my childhood dream come alive.

Stream In A Perfect World… below.

Today marks 10 years since the release of my first studio album, “In A Perfect World...” I didn’t mean to be gone so long, I only needed my real world to be perfect...it is now. Thank you for your patience. The wait is over. I’m ready. Summer 2019. pic.twitter.com/GcXT2roKGl

— Keri Hilson (@KeriHilson) March 24, 2019

via ratedrnb.com

Cosha TG - CALL MY PHONE (Summer Nights EP)

Cosha TG has delivered the visual for its standout track "Call My Phone."

The song, produced by Timbaland and the Factory (Angel Lopez), finds the rising Chicago artist reflecting on a relationship plagued with trust issues.

"'Call My Phone' came from an argument with my girlfriend during the time I was in the midst of being out in Miami in a creative space," Cosha TG told Complex. "I put my feelings, thoughts, and situation into words... the rest is history."

You can watch the "Call My Phone" video, directed by Jesse Ray Diamond, above. Summer Nights is available to stream on Apple Music/iTunes and Spotify.

 

Summer Nights is available to stream on Apple Music/iTunes and Spotify.

Cosha TG is part of Def Jam's new joint venture with Timbaland's label Mosley Music Group. The rapper inked a deal with the hitmaker in 2018.

via Complex

Keri Hilson - Where Did He Go (Promo Video)

Check out the promo video for Keri Hilson's debut all In A Perfect World produced by Timbaland (2008)

V. Bozeman - Music Is My Boyfriend (Album Preview)

Here's Everything So Far From V. Bozeman Unreleased Album "Music is My Boyfriend", She Released 3 Singles "Smile" & "What Is Love" & "Race Jones" and Leaked New Tracks on her SoundCloud Account "No Love Lost" & "Don't Know What U Got" & "Ricky Bobby" and Many More, The Album is Entirely Produced By Timbaland & Jim Beanz , Now Listen To the Music Below:

1- RACE JONES


2- WHAT IS LOVE

3- SMILE 

4- CALIFOR-N-I-A FEAT TIMBALAND

5- NO LOVE LOST


6- UNRELEASED TRACK (PREVIEW)


7- TIMBALAND LIVE STUDIO SESSION




8- RENEGADE



9- I AM Woman


10- Don't Know What U Got


11- Ricky Bobby


12- Lady Like


13- Recovery

D.O.E. Shares his Stories w/ Timbaland

here's John Doe aka D.O.E. The former Signee Artist in Mosley Music Group Telling some facts and Stories about His Work Timbo and sharing throwback tracks, well some of the facts Might Surprise you so check this 60 Seconds below:

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Feb 8, 2018 at 11:03am PST

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Feb 16, 2018 at 11:13am PST

The ups and down of my life smh 🤦🏿‍♂️ (Swipe) to hear what was suppose to be my 1st single “Rollin” ft. Timbaland & Lil Jon #60secondsgems #60secgems #murgewiththeworld . . . #hiphop #rap #rnb #love #life #advice #questions #music #industry #101 #motivation #religion #unsignedartist #history #women #empowerment #truestory #interscope #jimmyiovine #timbaland

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Feb 20, 2018 at 12:29pm PST

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Feb 23, 2018 at 12:26pm PST

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Feb 27, 2018 at 12:42pm PST

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Mar 16, 2018 at 11:30am PDT

Tim said get em so I had to get em I was just having fun tho. Ayo @scottstorchofficial no hard feeling b. 🤜🏿🤛 (Swipe⬅️) “Piano Man” produced by @wizz_dumb Aka Wizzaland #60secondsgems #60secgems

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Mar 20, 2018 at 11:43am PDT

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Mar 23, 2018 at 11:48am PDT

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on May 24, 2018 at 11:58am PDT

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Jun 1, 2018 at 11:09am PDT

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Jun 22, 2018 at 10:50am PDT

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Jun 29, 2018 at 11:28am PDT

A post shared by D.O.E [Dee-Oh-Eee] (@deeoheee) on Jul 13, 2018 at 3:44pm PDT

D.O.E. with Nelly Furtado (VMA's 2007)

Princess Nokia Feat. Timbaland - ''Erase the Hate''

Princess Nokia and Timbaland came together to perform a new original track appropriately titled "Erase the Hate." While the beat may grab your attention at first, it's the lyrics that will keep you listening time and time again.

Erase the Hate was formed in 1994 to combat hate and discrimination in America. The cause has now expanded across NBCU Cable Entertainment Networks, which will air the video multiple times this weekend. "I wanted to join this campaign more than anything simply because I have always revolved my life, revolved my music, revolved my passions around dismantling hate," Princess Nokia explained in the BTS video obtained by E! News. "I'm a champion of love. I've always been a champion of love." 

 Timbaland added, "I think music is the most powerful tool to cure any negativity in the world."



campaign. Find out more: EraseTheHate.org

via eOnline.com