HOUSTON RAP PIONEER LILTROY AUTHORS THE MUSIC INDUSTRY’S FIRST COOK BOOK – RECIPE FOR SUCCESS “HOW TO MAKE A MILLION DOLLARS OFF OF ONE RECORD”

In 1998, local Houston rapper/ CEO Troy “Lil Troy” Birklett broke out of the city’s thriving rap scene with his seminal rap single “Wanna Be A Baller,” pushing his Short Stop Records/ Universal major label debut album Sittin’ Fat Down South to platinum status. Now 10 years and more than one million record sales later, the entrepreneurial genius celebrates a decade of achievements in entertainment and business investments with his tell-all self-help manual The Heat In the Kitchen: Recipe for Success.

Written in cookbook form with ingredients, measurements and step-by-step instructions, The Heat In the Kitchen discloses Troy’s road to stardom and empowers independent artists with the necessary tools needed for success in the music industry.

Through clear, concise and well-written chapters, Troy details how to gain radio play, land distribution deals and build a studio. It offers advice in choosing the right entertainment lawyer and emphasizes the importance of well-written bios, demos, street team promotions, business cards and lyric sheets. He lays out the roles of producers, obtaining royalties and offers the pros and cons of independent verses major label deals.

“I see so many aspiring artists going down the wrong path. Most of them want to rap because of the fame, but the major record labels are taking advantage of them,” says Troy. “We have all of the talent and do all of the work but we are not reaping all of the monetary rewards. I saw a problem with that. This is my solution. Artists need to learn how to make our money work for us, not the other way around.”

Troy lends himself of prime example of music industry self sufficiency. Laying down the independent framework that so many artists follow today, Troy’s music career started almost 15 years ago. Through his label Short Stop Records, he launched the careers of Houston artists such as Lil Flip, his son T2 and rap legend Scarface.

But his hit single “Wanna Be A Baller” was his oil mine. But instead of squandering his profits on gold chains, big cars or a Rolex, Troy invested. He opened Missouri City Boxing Gym (which hosts amateur and pro fights) and a bail bonding company. Troy also manages boxer Ernesto Curiel, who recently won 138-pound Golden Glove.

In addition, his label Short Stop Records is now a consulting company which educates independent Texas artists on the music industry. Troy is even on the verge of releasing the 10-year remix to “Wanna Be A Baller” this Summer. And if that wasn’t enough, he also has in the works a board game Politics.

“The way the industry is going today, labels are giving out deals for singles and ring tones, and there are so many ways you can use that to your advantage outside of the music,” Troy spells out. “If you follow his instructions, then you too can make a million and become truly independent.”

THE SET UP

Written by Eldorado Red
April 2008

Curtis Cross, better known as Black Milk, is the rap version of Samuel L. Jackson. This year alone Milk; noticeably no longer Murder Mitten’s best kept secret, has lent his rhyming and production talents to various projects including the Caltroit compilation, Guilty’s Ode to the Ghetto, Torae’s Daily Conversation and most recently The Set Up. This latest effort pairs him with fellow Detroit native, Fat Ray (Both artists alongside Young RJ, are BR Gunna).

While Jackson has had his share of movie disappointments, this album is Black Milk’s Deep Blue Sea or his Formula 51 if you will. With that said, this album is not a complete letdown- it merely pales in comparison when measured against Black’s previous projects. There’s no denial that both rappers complement each other throughout this 11-track album. Evident throughout the album, is Black’s ingenuity to create beautiful music albeit the soulfulness heard on former tracks like say, One Song, or Three + Sum (Although AB does sprinkle a pinch of soul on Take Control). This time around, listeners are presented with gritty, gutter-like sounds highlighted by the pensive drum patterns that make Black a beast behind the boards. While some listeners might not be appreciative of this deviation, it clearly displays his versatility and ability to reinvent his sounds of music. Lookout contains either a Middle Eastern or Southern Asian sample a la Madlib’s Beat Konductor series, and features Name Tag, Black’s cousin. While Bad Man features Guilty Simpson and Scorpion, who laces a Reggae inspired hook. Ronnie Cash aka Phat Kat and Elzhi of Slum Village acclaim also lend their talents to Get Focus.

From the beginning through the lead track, Flawless, listeners instantly take in the chemistry that both Black Milk and Fat Ray exhibit throughout the albums entirety. In a manner reminiscent of the swag flaunted on Sound the Alarm, Black spits, Strait gutter I mean everything I utter/ speaking the language no I ain’t stutter. While Fat Ray assertively comes back with, You keep the bitches bitchin’, I got the hoes hoin’/ I’m on slow motion keep the dru blowin’/ High times nigga keep the dro growin’/Inspect gadget gun go goin’. Despite his convincing depictions of street life amplified by his powerful raspy delivery, the nature of his subject matter is somewhat limited and superfluous. Even so, it is almost as though Fat Ray was intrinsically abiding by the album’s very title; he sets us up for what seems to be a grand finale on the last track, Ugly. Fat Ray’s delivery over Black’s impeccable production in the aforesaid track is worth mentioning.

Assuming this album serves as a platform that introduces Fat Ray to the hip hop world outside of Detroit; his efforts are nothing short of ordinary. As a matter of fact, the rappers on this album churn out rather meaningless, mediocre rhymes, making them appear as though they are just the run of the mill; while their catalogues would prove otherwise.

The Set Up marks the first of many releases to come from Black’s label, Music House. While this album has its flaws; most notably the lyrics or lack thereof, it is still considerably better than most albums out there and that’s saying a lot. Black’s willingness to veer left when all signs point right suggest that this young producer is destined to carve his mark in the rap game.

LEGENDARY HIP-HOP GROUP EPMD CELEBRATES 20 YEARS WITH A GROUND BREAKING SOLD OUT PERFORMANCE!

The legendary Hip-Hop duo EPMD is set to take the stage for a ground breaking sold out performance to celebrate their 20th year in music. The performance will take place at the new Nokia Theater Friday, April 25, 2008. This show is the follow up to their now legendary reunion performance at BB King’s (New York) in 2006. “Erick and myself have been making music since 1987. We are so blessed to still be able to perform for sold out crowds,” states Parrish Smith.
In addition, EPMD is currently in the studio finishing their seventh studio album “We Mean Business” to be release on their new imprint EP Records distributed by Fontana/Universal. “We Mean Business” is truly a relic of the group’s 1988 debut album “Strictly Business” over 20 years ago. Erick and Parrish’s blend of old school flavor and new style funk will sure to please the die hard EPMD fans. “The music business is very different from 20 years ago. As a collective, we wanted to take our time and really focus on making another classic album,” states Erick Sermon.

PERFORMANCE INFORMATION: WHO: Legendary Rap Duo EPMD WHAT: Ground Breaking Performance/SOLD OUT! WHEN: Friday, April 25, 2008 WHERE: Nokia Theater (New York City) Times Square 1515 Broadway, 44th & Broadway New York, NY 10036 212-930-1940 TIME: 7:00pm

Check out everything EPMD:

www.myspace.com/therealepmd

www.myspace.com/greeneyedbandit2006

www.myspace.com/pmdhitsquad

www.pmdhitsquad.com