Tuesday, July 31, 2012

Full concerts @ Tomorrowland 2012 festival (27-28-29 july)

Dear friends,

This last week-end it was time for the hottest electronic music festival worldwide, a belgian event called 'TOMMOROWLAND'... The concept of this festival is pretty simple, ... you take the best house-techno-electro-dubstep-.... and you make them play their set on a fairytale style decor... Fans take some drugs & got some fun lol

And I just found few full live concerts from the 2012 edition including Skrillex - Carl Cox & Fatboy Slim ...

So enjoy the music & download that asap if you know what I mean 'cause not sure this content will be avalaible forever like that :-)



01. Skrillex feat. Ellie Goulding – Summit (ID Remix)
02. Skrillex & The Doors – Breakn’ A Sweat (Zedd Remix) [Owsla]
03. ID
04. Skrillex & Wolfgang Gartner – The Devil’s Den [Owsla]
05. Knife Party – Internet Friends [Earstorm] w/ Skrillex – Kill Everybody (Acappella) w/ ID
06. Skrillex feat. Sirah – Weekends!!! [Owsla]
07. Skrillex – Rock ‘N Roll (Take You To The Mountain) [Owsla]
08. Birdy Nam Nam – Goin’ In (Skrillex ‘Goin Down’ Remix)
09. Skrillex & Damian Marley – Make It Bun Dem [Big Beat]
10. iSquare – Hey Sexy Lady (Skrillex Remix)
11. Skrillex – Ruffneck [Owsla]

Listen & download here:

Skrillex - Live @ Tomorrowland 2012 (Belgium) - 28-07-2012 [www.edmtunes.com] by edmtunesTV  



 01. Human Resource – Dominator (ID Bootleg) 02. Laurent Garnier feat. The LBS Crew – Jacques In The Box .. commercial breaks .. 03. Adam Port – Black Noise [Cocoon] .. commercial breaks .. 04. Nause – Made Of (John Dahlback Remix) [Mutants] .. commercial breaks .. 05. Mark Broom – Satellite .. commercial breaks .. 06. ID 07. Marco Bailey – Bom Bang! [Bedrock] 08. ID

 Download & listen here: 

  Carl Cox – Live @ Tomorrowland (Belgium) – 27-07-2012 [www.edmtunes.com] by edmtunesTV FATBOY SLIM Tracklist: 01. Intro w/ Fatboy Slim – Star 69 (Acappella) w/ Fatboy Slim – Praise You 02. His Majesty Andre – Clubs [Cheap Thrills] w/ Mark Knight & Koen Groeneveld – Put Your Hands Up (Acappella) 02. Chuckie – Who Is Ready To Jump [Big Beat / Cr2] w/ Fatboy Slim – The Rockafeller Skank (Acappella) 03. ID (7min) w/ Knife Party – Internet Friends (Acappella) [Earstorm] 04. Basement Jaxx – Where’s Your Head At [XL] w/ John Dahlback – Grunge [Mutants] w/ Knife Party – Internet Friends (Acappella) 05. Bingo Players – L’Amour [Hysteria] w/ LMFAO – I’m In Miami Bitch (”Tomorrowland” Edit) 06. As Tequileiras Do Funk & DJ Gasparzinho – Surra De Bunda (Sidney Samson Remix) [Samsobeats] w/ Calvin Harris feat. Kelis – Bounce [Sony] 07. Chocolate Puma & Firebeatz – Just One More Time Baby [Spinnin] w/ Knife Party feat. Mistajam – Sleaze (Acappella) w/ Mercer & Mystique – Here Comes That Sound [Spinnin] 08. Kurd Maverick – Hell Yeah [Spinnin] 09. Nari & Milani vs. Maurizio Gubellini – UP (Christian Marchi Remix) [Cr2] w/ Fatboy Slim – Right Here, Right Now (Acappella) 10. Azaelia Banks feat. Lazy Jay – 212 11. TJR – California Love (No Hip Hop Drop) [Pop Rox] 12. Riva Starr & Fatboy Slim feat. Beardyman – Get Naked (Fatboy Slim vs. Futuristic Polar Bears ‘Naked Circus’ Remix) [Moshi Moshi] 13. Sympho Nympho feat. Erick Morillo, Harry Romero & Jose Nunez – Build It Up [Subliminal] 14. Soul Central – Strings Of Life (Supernova Remix) [Defected] 15. Richard Grey vs. Nari & Milani feat. Alexandra Prince – Mas Que Nada (Mikael Weemets ‘A Night At The Carneval’ Remix) [Ego] 16. Etta James – Something’s Got A Hold On Me [Geffen] 17. ID 18. Nari & Milani – Kendo (Steve Angello ‘Size Matters’ Edit) [Size] w/ Tiësto feat. Kay – Work Hard, Play Hard (Acappella) 19. Queen – Bohemian Rhapsody 20. Steve Aoki & Sidney Samson – Wake Up Call [Dim Mak] w/ Armand Van Helden – NYC Beat w/ Fedde Le Grand feat. Mitch Crown – Rockin High (Nicky Romero Remix) [Flamingo] (Fatboy Slim Mashup) 21. Seductive – Take Control (Tom Stephan Remix) [Spinnin] w/ Fatboy Slim – Sunset (Bird Of Prey) [Skint] 22. Donna Summer – I Feel Love [Casablanca] .. commercial break .. 23. Fatboy Slim – Praise You [Skint]  

Download & listen here: 

  Fatboy Slim Live @ Tomorrowland 2012 (Belgium) – 27.07.2012 [www.edmtunes.com] by edmtunesTV

Thursday, July 12, 2012

Bronze Nazareh - Farewell (Video)

Bronze Nazareth, Wu tang Producer & Emcee master, drops a new video from his critically acclaimed sophomore album "School for the Blindmen" 

This cut features Bronze's fluid flow and sublime lyrical wordplay, backed with rugged breaks and soul soundscapes. Fans can buy The album from the links below.



 Connect with Bronze Nazareth - 

Sunday, July 8, 2012

Lil Wayne & Kid Ink - Do it Massive (Re-Up)


 Re-up of my special summer mixtape 'DO IT MASSIVE'  with selection of recent dope Rap singles & excl remix prod by myself aka Evolution MS. 


Listen & Download :

YOUNG BUCK & CITY PAPER - G.A.S. (Gangsta & Street)


New mixtape from Young Buck x Tha City Paper "G.A.S. (Gangsta And Street)

Listen & Download :

Yelawolf & M16 - Heart of dixie


Heart of Dixie is a project that came together from Yelawolf, DJ Frank White, and super producer M-16. All original music, an instant classic, it's no coincidence they're all from Alabama. Follow them @M16Beats & @Yelawolf
Listen & download here:

OJ DA JUICEMAN - Cook Muzik 2 (Mixtape)


New mixtape from OJ Da Juiceman hosted by DJ 5150...

Listen & download here:

Ice Berg - Strickly 4 the Streets 3 (Mixtape)


New mixtape from Ice Berg hosted by DJ Sam Sneak & DJ Obscene !
Download & Listen here:

Friday, July 6, 2012

Young Tef (Chozen Few) Super Sayings X2 (MIXTAPE)

Young Tef (Chozen Few) Super Sayings X2

 New mixtape project from friends of CHOZEN FEW... A more than honnest release to check & to get on his i-pod during this beginning of summer 2012 ! 


Arnaud aka EVOLUTION MS 



The long awaited Super Sayings x2 from Jersey's own YOUNG TEF (@TEFCHOZENFEW) is finally here. Presented by Chozen Few, Strike Force Entertainment and Facemob. Hosted by Grz Tapez & Max B





50 Cent - 5 (Murders by numbers)

50 CENT - 5 (murders by numbers) 

Great news for all the real rap music fans, 50 Cent is back on his best level & here is one new mixtape who will proof what I say on this blog post...

Check it here (& download via datpiff 2)

Wednesday, July 4, 2012

The future of Mixtapes Business ?!? ...


Dear friends,

I just received this interesting article about evolution of the mixtapes business during the past years & also some reflection about his future... Personaly I do agree with the global article point of vue but  I've to read it more focused to publish my own vision of this great article....

Dont hesitate to post your comments friends...

ARNAUD aka Evolution MS


The Free Mixtape/Street Album phenomena is killing the revenue flow in the Hip Hop game. Artists are not getting paid, producers are not getting paid, etc.. I say leave the MULTIPLE Mixtapes for the DJ's and the rappers should go back to giving out singles and samplers and creating quality EP's or Albums that they can market and sell.
Rappers have trained their audience to expect free music all of the time with the multiple releases of Free Street Albums.. CRAZY!
Stop painting rap fans with a broad brush. Not every rap fan wants free throw away music.
Rap fans are not demanding this free clutter music; it's being shoved on them.
Many aspiring Rock & Roll, Pop, Country and R&B artists are building solid fan bases without giving away free albums. Rappers Take Note!
Your fans must either want to be you or believe you. You must know your target market and your music has to resonate with them.
As an Artist you must understand that your Fans don’t just buy your music; they buy your Lifestyle, your Brand and your Movement as well.
You don't have to keep putting out multiple free street album/mixtapes of original music to attract fans. You can release other free content from your brand like music videos, freestyles, video diaries, audio from radio interviews, video from concert performances, etc.. Nowadays it's no longer just about selling CD's; It's about selling or providing "Content" and conveying the mission of your Brand and your movement.
Try something different to build a fanbase. Look into the possibility of producing and starring in your own short films or long version music videos and add your music as the score. Think outside of your circumference.
Give away a single or a sampler to attract fans and then get them excited about buying a full length album or EP from you. Give them something to look forward to. When rappers constantly give away whole street albums of original music right out of the gate, it's like a woman giving up everything on the first date. There is no momentum, no excitement and no build up to what comes next because she gave up everything on the first date. And it's the same with artists.
Many upcoming rappers take the mystique & excitement out of their brand by giving away everything up front in the form of FREE Street Albums.
At least 70% of the independent rappers who put out multiple FREE Street Albums last year did not make a dime from their endeavors. FACT!
The crazy thing is that my next door neighbor's 10 year old daughter made more money selling lemonade last summer than many unsigned rappers made all year from their music endeavors which included Free Mixtapes and Showcase performances.. The little girl gave out samples, she advertised, did a raffle and then she sold lots of lemonade drinks and ices. (Apply basic business principles to your music projects and watch your revenue grow by three fold)
The game plan for most unsigned rappers consists of giving away Free Street Album/Mixtapes and paying to be in showcases. And that's it.
The average rapper spends $1500 to put out his Free Mixtape/Street Album..
Who's getting paid off of your FREE MIXTAPE/STREET ALBUM? LET'S SEE (Count With Me): The Studio, the engineer, the graphic designer for the cover, the CD manufacturer, perhaps the DJ you paid to host it, and perhaps the producers of the original tracks, the mixtape marketing company, and Datpiff or any other mixtape website that posts your mixtape in order to draw traffic to their site with the expectation of selling ads based on that traffic, etc
I know an unsigned rapper who paid $2500 to a well known DJ to host the rapper's FREE mixtape/street album. And the DJ didn't even promote it. Next the rapper spent $1500 to get a collaboration on a song with a popular upcoming MC that went on the FREE mixtape/street album. Then the rapper paid the studio and engineer to record and mix the FREE mixtape/street album and he paid a graphic designer to design the cover. Then the rapper spent $500 duplicating the CD's. And finally the rapper paid $1500 to a mixtape marketing company to promote the Free mixtape/street album. At the end of the day, this rapper spent close to $7000 on a Mixtape/Street album that he gave away for free. He got 12,500 downloads at the end of the day.. Was it worth it? I say NO! Most independent rappers are just following Lil Wayne and Drake and have no idea what they are doing.
Equally important, when you put a Free mixtape/street album on Datpiff or any other mixtpape site and generate thousands of downloads, do you know the demographics (Sex, Race or Age) of those downloading your mixtape? NO! Can you obtain the email addresses of those downloading your mixtape? NO! Do you know the location of those downloading your mixtape? NO! On these mixtape sites you don't receive any real stats and thus you don't know who your potential consumers are. And the crazy thing is that some rappers are even buying download stats on Datpiff now. The only thing that you are doing is making money for Datpiff. They use the traffic you draw to their site to sell advertisements. RAPPERS WAKE UP! For many rappers these Free Mixtape/street albums are just vanity projects and an expensive hobby. And many spend little money advertising the mixtape releases. Most rappers put out multiple free mixtape/street albums just to stroke their ego, but they have no understanding that in many cases they're just throwing away money and cluttering up the already saturated Mixtape market.
And some rappers are even going as far as to buy Datpiff downloads and manufactured stats.
Fake Downloads On Datpiff + Fake Views On Youtube + Fake Followers On Twitter + Fake Fans On Facebook = FAKE MOVEMENT.
Just about every independent rapper has a FREE mixtape on Datpiff cluttering the market place. Try Something Different. Be Unique. Stand Out
It would make more sense to put the mixtape on your own website and draw traffic there. You can set it up so that people must enter a name and an email in order to download it. Also you can put a traffic tracker on your own website and gather analytic demographic data of the unique visitors who visit your site. Moreover, you can also sell advertisements, bonus singles, merchandise etc on your own site based on the traffic you draw there.
The bottom line is that many rappers are just following a trend. Instead of having a plan, most indie artists just make music and put it out like they're throwing darts against the wall hoping to get lucky.
If Lil Wayne comes out tomorrow and states that the Mixtape game is dead and he will no longer deal with it, then watch how many rappers follow his lead.. SMH
ATTENTION INDEPENDENT ARTISTS: Are you receiving publishing Checks? Do you sell merchandise? Do you sell digital downloads? Are you getting paid from shows? Have you generated revenue by licensing your music? Have you obtained funds from Endorsements or Sponsorships? Do you get paid from doing features? Do you keep track of money you spend and money you take in regarding your music? Do you pay taxes based on income generated from your musical endeavors? How much did you earn last year from your music endeavors? How much do you expect to earn this year? How much did you invest in Promotion last year? How much do you plan to invest in promotion this year?
One hit single can generate millions for an artist via digital sales, publishing, paid shows, endorsements, ring tones, etc.
It is very important that every aspiring artist and producer know and learn the multiple revenue streams in the music business. Some of the Music Biz Revenue Streams include: CD Sales, Digital Download Sales, Merchandising Sales, Tour Income, Licensing Revenue, Publishing income, Ringtone Revenue, Endorsement Deals and Sponsorship Revenue.
The key is to ATTRACT the masses to your music. Convert folks into fans and capture them by being unconventional. As an artist you have to get out there and meet with the people, engage your supporters, hand out flyers, T-Shirts etc..
Don't be a backwards hustler.. What dude you know in the streets who gives away all of his product and is able to grow in the streets?
Big corporations give away free SAMPLES to attract buyers, but they also invest in advertising and marketing to sell the products as well.
PepsiCo is boosting its overall marketing budget this year by as much as $600 million. SUCCESSFUL COMPANIES INVEST IN PROMOTION. FACT!!
If you believe that nobody buys music anymore, then you've already lost. You're just basically stating that you're music career is a hobby.
Forget about putting out (3) three mediocre FREE mixtapes in a row and concentrate on creating (1) one CLASSIC ALBUM that you can market and sell.
The music business is NOT the LOTTERY. That "Dollar and a Dream" mentality will not cut it. Get a Budget! Get a Plan! And Get To Work! Do Remixes, Do Music Videos, Do Video Logs, Do Contests, Do Shows, Do interviews, Get your own Merchandise, Connect with DJ's and your fans.
There are millions of aspiring artists and producers. So how do you expect to STAND OUT if you look, talk and sound just like everyone else.
The music game is all "Smoke and Mirrors." Don't get caught up in the illusion and Sleight of hand. Study and Learn the biz for yourself.
By Jesse Atkinson, CEO of Urban Threshold Inc and founder of the Underground Music Awards and The A&R Power Summit

Music Industry Special : Different types of record deals...


Different Types Of Record Deals

By Wendy Day from Rap Coalition (www.rapcointelpro.com)

There are a multitude of different deals out there for any recording artist. It depends solely on what you agree to contractually. There is no such thing as a standard contract-- a contract is just an agreement between two people that says who will do what by when, what happens if they do not do it, and how everyone gets paid. You don’t get what you deserve in this business, you get what you negotiate.

It is important to have an entertainment attorney finalize your deal (or negotiate it if you are not skilled in this area--I have done numerous deals and still always have a lawyer by my side in every deal) because it isn’t always what’s written in a contract that can hurt you, but often what is missing. Every contract is different because every situation is different! Recording contracts are always, always, always set up to benefit the label and not the artist, so many changes are needed. In fact, I once heard that the average contract goes back and forth in negotiation seven times.

If the label has experience with you or your attorney, they know what basics will be accepted and what will be rejected quickly, so they often start with a better contract than someone who is brand new with no experience. This is a business first and foremost, and people who are out to make money from your talent, will try to do so at a split that is as beneficial to them as possible.

I shouldn’t have to mention that a real record label or distributor is one that has been putting out music successfully for awhile, has relationships in the marketplace, and is well known. A record label is not Little Bo Bo from down the block who thinks he’s a good judge of music and linked up with the local dope boy or basketball player to start a label. It is also not a website that appeared online last week to sell your downloads and ringtones regardless of how catchy the name is. The goal is not to be signed to just ANY record label, it’s to have a successful career doing what you love to do: making music. This shit is like winning the lottery to begin with, it’s important you learn as much as you can and stack the odds in your favor as much as possible.

Here is an idea of the different types of deals out there, and these deals are attainable based on the leverage of the artist, how badly the label wants to sign the artist, who is on their team that the label sees as added value, if other labels are bidding for the artist as well, and the track record of success of the artist or producers:

Distribution Deal (sometimes called a P&D deal): This is the hardest deal to get. It can be an 80-20 split, with the label making 20% and the artist making 80%. There is rarely money advanced (in a few cases I have seen pressing costs advanced). This deal is usually reserved for the most successful artists where the label perceives minimal risk and sees value in allowing the artist to do the bulk of the marketing, promotion, radio, and video work. Cash Money has this type of deal, as did No Limit back in the mid-90s at Priority. The only thing the label is responsible for is getting the CDs into stores and collecting the money. The artist does everything else. The length of the deal usually runs 3 years and rarely, if ever, goes to an artist without the proper funding and experienced team already in place. The artist always owns the masters.

Joint Venture Deal: This is also a deal that is not easily forthcoming without a track record of success. It is usually a 50-50 split, and the term can run from 3 to 7 years. Most labels split the work with the artist but offer the sole funding for the deal. There can be an advance, which is always recoupable before the splits, and it is up to negotiation whether the label owns the masters or splits them with the artist.

Artist Deal: By far, this is the most popular and common record deal. The label does everything, except record the album (although they pay for it), and they have complete control and ownership. The term is usually for 5 to 7 years, and the average percentage for the artist is 12%. Out of that percentage the artist pays back everything the label spends that is recoupable, rarely leaving the artist any money unless the sales are exceptional (Gold or better)

All labels are not created equal. Just getting signed to a label is not enough. In fact, if you are happy solely to get a deal with a label, any label, you are doing yourself a huge disservice--you are setting yourself up to fail, unless you are just a lucky muthaphukka (in which case, play the lottery and stay out of the music business).

Some labels are great at radio, some are great at working the streets, some excel at making connections into film and TV or have great relationships with BET and M-TV, and some have great connections with the top producers and mixed tape DJs. If you make outstanding radio songs and you do a deal with a label that has a weak radio department with no budget to pursue radio play, you are screwed and your career will falter. Each label is different, and it is important to know those differences as you are building a career in the music business. Just getting a deal, is not enough to guarantee success (not that anything in this fickle business can be guaranteed, but you want as much of a fighting chance as possible). And the labels change, as the people who work for them come and go.

I have played a role in helping to build MANY millionaires in this business (Cash Money, David Banner, Twista, etc). I feel my key to success has been in studying the labels, knowing the abilities of their employees and various departments (which are constantly changing), and really seeing who is able to do what, well. Then, when I am shopping a deal, I link up the artists with the labels that make a good fit. I make sure that the artist is covered by outside consultants in the areas where the label is weak. For example, if a major label is strong at radio but weaker on the streets, I make certain it is in the artist’s contract to hire their own street promotions team along with the budget to do so.

With some labels, it is impossible to do this, so I make certain that I never do deals with those labels—they are not the successful labels anyway, so nothing is lost. Some labels are in business to make a certain percentage back above the investment they outlay to keep their investors or stock holders happy, so they are not interested in driving their artists platinum. Perhaps their business model is to spend no more than $500,000 on the creation, marketing, and promotion of any rap record, and then their goal may be to make back $750,000. It would follow that they would never spend more than half a million dollars and as soon as they achieve their sales goal, they would stop working the project and move on to another project. This is great for artists who don’t have a chance of selling a lot of CDs, but frustrates most artists who feel they can sell more than 100,000 CDs (after all, for a label to make $750,000 all they have to sell is 100,000 CDs).

Some labels spend millions of dollars to promote their artists without knowing what is effective, so their motto is spend, spend, spend. For an artist who desires fame and doesn’t care about making money, this would not necessarily be problematic. I imagine this is why we see so many broke artists on VH-1 “Behind The Scenes” specials, because they weren’t aware of ways to turn that fame into income for themselves.

Then, there are labels that change their staffing, or change their ownership or change the original teams that had made the labels successful in the past. This is why labels such as No Limit, Ruthless, Loud, Death Row, etc could be on top one day, and struggling to compete the next day. One thing is for certain in this business: success is created by hit records and hard work. There is no other route to take. It is impossible to have one without the other to succeed.

The industry is driven by radio right now. This means that the days of Master P selling millions of CDs without any radio play are over. Today, a run-away radio hit is almost a necessity to succeed. But in addition to a hot single, it is important to have a realistic budget and a well-connected team to follow up with strong radio promotion. Radio is just one piece of the pie in creating a successful project. Even though radio is key these days, it is not enough, by itself, to succeed.

Here are some of the things I look at when analyzing a major label:
• Who is running the label? Have they had success before? With what kind of artists? With what kind of music? What and when was their last hit? Do they appear to know what they are doing? Have artists left that label to blow up elsewhere? Are the current artists happy? Do they have a stockpile of artists just sitting still waiting to come out?
• Who runs the radio department? What records do they currently have at radio? Who are the priorities at radio? Which stations do they seem to have great relationships with? Which indie promoters do they hire?
• What other artists are signed to the label? What is their release schedule? Who are the priorities and will my artist be a main priority?
• Is the label good at the type of music my artist makes? Do they offer good artist development? Do they get a lot of press for their artists? Is the marketing staff strong? Does the staff have a good reputation? Does the staff turn over quickly or is it a good working environment? Does the person running the label give their staff the autonomy to do what they are hired to do?
• Is the bulk of the label’s staff an A-List staff or is it comprised of folks who are new to the business or the folks who could not get jobs anyplace else (a sign that the label is overly cheap and has no clue how to succeed)?
• Does this label share our goals and ideas of success? If I am planning to take my artist Platinum and/or do a ton of endorsement deals, we better not sign with a label that only has a history of selling 300,000 CDs on every twentieth release, while barely breaking 75,000 in sales on most releases.
• Do they sign the majority of hot acts around the country or do all of their acts seem to come out of nowhere? If they are signing the hottest acts, do they become one hit wonders or do they have legitimate careers?
• Are their deals fair or are there a lot of disgruntled artists slamming them publicly?

I am not any smarter than you. My connections are not great. I just study this industry under a microscope and place artists with the labels that appear to make sense for that type of artist. So far, it has worked! And, if I can do it, you can do it. So before you take a deal, just any deal, make sure you understand exactly what you are getting into. Do the research and make certain the company to which you are giving the next five to ten years of your life, is worthy. Most are not. The real work begins once you get a deal, so make sure you have as much stacked in your favor as you can!

New Era 59Fifty customised by Evolution MS

Here are some hatz customised by myself via NEW ERA new website section called NEW ERA BY YOU...
Concept is like NIKE I.D. stuff, you choose a model & you customised with your fav colours & ya favorite team logo on it & if you want you can command your hat online (58$)

Check this application here:

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