Rap veteran, Guru, along with his partner Solar, are scheduled to release their latest collaboration, Guru 8.0 Lost & Found, May 19th via 7 Grand Records.

Although Guru and Solar have had success in the past with their Jazzmatazz series, the former Gangstarr emcee sets the record straight about the direction of the new album. “This is not hip-hop jazz,” explains Guru. “This is straight up hip-hop elevated to a higher plateau, so it shouldn’t be compared to the Jazzmatazz series. The jazzier side is a part of who I am as an entertainer, but doesn’t define who I am as an artist or as a lyricist.”

Despite the inclusion of United Kingdom soul-singer Omar on the song “Ride,” Guru 8.0 Lost and Found, will mostly feature artists on the 7 Grand roster, including K. Born, Highpower, and Doo Wop. The album also includes the tracks “Best Of My Years” and “Fast Lane,” which were inspired by the sounds of vintage and southern hip-hop, respectively.

In addition, Solar, who normally handles production duties, will make his debut as an emcee on the song “After Time.”

R&B songstress Ciara is due to release her third album, Fantasy Ride, on May 5th via LaFace/Jive Records. 

Led by the singles “Never Ever” featuring Young Jeezy and “Love Sex Magic” featuring label-mate Justin Timberlake, which are both in the Top 15 on the Rhythm, Pop and Urban mainstream charts, Fantasy Ride will be supported by a host of other notable music figures, including A-List producers Nate “Danja” Hills, Tricky Stewart, Polow Da Don, and Rodney Jerkins.

Currently, the single “Love Sex Magic” is performing well in the international market as it scored the # 1 spot on the United Kingdom’s iTunes R&B Chart, Germany’s Club chart and Japan’s Ringtone chart.

In making Fantasy Ride, Ciara played a more active role in the creative process, serving as a co-writer on a lot of the songs, in addition to being a co-executive producer.

To promote her new album, Ciara will be making television appearances on Good Morning America, Saturday Night Live, the Tonight Show with Jay Leno, Regis and Kelly, Ellen, and Jimmy Kimmel.

In 2003, Curtis “50 Cent” Jackson emerged on the national music scene becoming an instant success after the release of his seminal debut album, Get Rich or Die Tryin’, which propelled the emcee to superstar status. While Dr. Dre and Eminem received face time for their involvement in the development of 50 Cent’s career, Queens, NY native, Michael “Sha Money XL” Clervoix, was the architect behind-the-scenes hatching an industry takeover, as he served as co-executive producer of the rapper’s first two LPs, in addition to his former duties as the president of G-Unit Records.

Sha Money XL’s management firm, Money Management Group, has listed various artists and producers as clients, including but not limited to, Llyod Banks, Tony Yayo, Young Buck, Hi-Tek, and Jake One. His penchant for production and the need to provide aspiring producers with an outlet to be discovered led to the formation of the One Stop Shop Producers Conference, where beatmakers convene for a few days of networking, exposure, and professional advice. Fortunately for A&R Department, we got the opportunity to speak with Sha Money XL to talk about 50 Cent’s forthcoming album, the changes in mixtape marketing, his up-coming 3rd annual One Stop Shop Producers Conference (May 9th – May 10th in Phoenix, AZ), and the overall business of music production as a whole. 

As an executive producer of 50 Cent’s upcoming album, what can be expected from Before I Self-Destruct?

I mean, honestly man, this s——t is gonna be up there with Get Rich or Die Tryin’. He’s taking it back and the concepts … of the songs, the pouring his heart out, giving you his real blood on the table. And I mean honestly, the beats are amazing, the concepts are incredible. It’s just gonna be a f——in’ incredible album. That’s what I really can say. I can’t [get] into too much detail about giving it up ‘cause you know people are still studying him—but I’m talking about hooks, concepts, rhymes—I mean his blood is in the pen. He’s writing it with blood, you know what I mean, so he’s really gonna give you all of him.

At first, 50 Cent and G-Unit used the physical mixtape as an outlet to market themselves, now the same can be said about their use of the internet. What’s the difference of marketing strategy between the two mediums—of the physical product versus the internet?

Honestly, I think the mixtapes are still important for the hoods, for people who don’t have internet, you know what I mean; people that just … that’s still poppin’ in damn near, you know, music in their headphones, radios, or whatever… You’re dealing with stronger impressions in one shot by having a mixtape available up there too, so I wouldn’t eliminate the mixtape at all, I’ll just keep it on both formats where you’re virally there and in the streets with DJ Whoo Kid and the Green Lanterns, you know. But it’s definitely a different thing, but um, honestly, 50 conquered … we was the number one dudes to conquer it and use the mixtape to our advantage, and now 50’s doing the same thing virally with thisis50 being the number one website out right now.

On the topic of mixtapes, how did the Feds investigation of DJ Drama impact the mixtape business?

It got everybody scared. Whoo Kid, everybody fell back. They took damn near three to six months off, and just really kinda just didn’t go as hard as they normally would. So I mean, it made everybody scared, and a lot of guys were just doing things recklessly in business and it made them be more cautious on how they conducted their business.

What’s your opinion about producers being as visible as the artists that they produce nowadays. Is that a conflict of interest?

It’s more about raising the awareness of the art, you know what I mean. You got people that’s now not appreciating our art and ready to just take it for free, and download it for free, and find places to get it for free. The more people, the more superstars, the more people are … more visual, and more known, and more … become a likeness, the better it is for hip-hop. It’s all about generating money. If someone’s going to come to the club just because a super-producer like Don Cannon is there, then so be it. Let it be that.

But what about the music itself, like the actual art of the music?

I mean, producers are—before you hear the rap you hear the beat. So it has to stand for something; when you do the breakdown sheet it’s 50/50. So the artist is what draws the hit vocally, but the music is what makes the people move.

Being a producer yourself, what separates a successful producer from the rest?

A successful producer is the one that’s consistent with hits—very consistent.

So you think it’s just a consistency thing?

I mean, it’s right back to what your first question was about it—the likeness. Swiss Beatz was real consistent with making dope beats but at the same time here was a dude that was cool to be around, cool to hang out with, cool to even have him doing background ad-libs on your song, cool to just have him in your video, so with that there’s a consistency in music, but then also the character of the producer.

I’m quite sure there are producers that you’ve come across that are talented but might not necessarily be successful. What correlates a person from going from being talented to being successful?

Their reach. Some people are talented but too ignorant, too good, or too into themselves to want to send their beats via e-mail; don’t want to stand in front of places to politic … their ego gets in the way, period; and you know, they’re too talented—they get endorsed in other things that distract them from the focus. I know a lot of talented dudes that it’s either the alcohol, it’s either the laziness, it’s either the fact that they feel everybody should follow them because they’re that dope. And they just—it’s the ego that’s pretty much your biggest enemy.

Presently, a record can be made without the artist or producer ever being in the room together. How has e-mailing tracks back and forth affected the recording process and overall sound of albums?

Well, it depends. With us, we initially two-track the track, so of course the MP3 is not a higher-quality of … so with that said, it’s just the foundation. We go get the vocals from the guy right after, and actually make the real record once it’s said that we’re gonna make this a record on the album. Some producers don’t really matter in the studio because they have no input to add—50 don’t need no input, you know, unless it’s Dr. Dre with some vocal stuff, but normally some of these guys are just … some guys do need it, some guys are real good with it, you know, like working in the studio with Pharrell or somebody like that would be useful ‘cause he can hear things and things like that, but these days the artists got their craft down pat, the producer got their craft, it’s just a mesh once they hear it, and if it’s that mesh they go right to it. Now mixing is another stage. I think a producer should be present for a mix because how they make the drums and all the sounds identify within the mix, it’s important to have him there when you put it up on the big board.

There’s a conference for every industry—there’s a conference for porno; there’s a conference for technology; there’s a conference for hair; there’s a conference for vitamins; there’s a conference for every industry. We never had one, so I’m creating that so these guys can know there’s one place you can go once a year and be able to talk to everyone, meet everyone, know how to network, and then further your career in this conference.

Having success within the G-Unit camp, what made you venture out to create the One Stop Shop Producer’s Conference?

What made me do it is basically the fact that I know I can’t manage everybody out there. I’m more of a giver than a receiver so … I like to help people, you know what I’m sayin’. With that said, it’s like, I just feel the need to help these guys get in this industry and get their weight pulled and politic because it’s very important for them.

What are the benefits of attending a conference like One Stop Shop Producer’s Conference?

One of the benefits is you got people from B and C markets that don’t go nowhere, or no producers, industry people who actually buy music are in their cities, so you are basically taking all this Fed Ex bills and all these times when you e-mail and trying to find A&R’s, managers, executives, and the dope producers, and you’re investing in yourself and flying somewhere. There’s a conference for every industry—there’s a conference for porno; there’s a conference for technology; there’s a conference for hair; there’s a conference for vitamins; there’s a conference for every industry. We never had one, so I’m creating that so these guys can know there’s one place you can go once a year and be able to talk to everyone, meet everyone, know how to network, and then further your career in this conference.

The advancement in technology has changed the landscape of all aspects of the music industry. What do artist, labels, managers, etc., have to do to compete in the current marketplace?

Man, they got to be fully competitive. They got to be where 50 Cent is—he’s a competition beast. They got to be able to shoot some viral videos, be able to hold and engage in conversations, keep these peoples engaged in the website, and all of that. It’s a lot to it, and it’s not an easy task, but I’m telling you, it’s an important thing for them to do that; and it takes a lot of things. Some of it is not even worthy to give up because you don’t want everybody on your blueprint.

When searching for new production talent what are some of the things you look for?

I look for consistency—I hear the first beat, if it sounds hot and the second one sounds dope, then I’m into you. I star you on my Gmail and then I start getting into you. If I hear one beat that’s good, and then the other one is terrible and then the other one is terrible, it’s hard for me to get into you—I look for the consistency. And I say to you, when I ask for the beat, “I need beats for 50,” so if you’re sending me beats for 50 and it’s moving like f——ing a Justin Timberlake song or some s——t, like, it don’t equate to what your ear should be as an A&R-producer, if you can’t send a beat that really makes sense … for 50, that means you don’t really have an ear for the actual artist, so it kind of deters me from wanting to [keep hearing ?] multiple e-mails from you.

As a producer, manager, and business executive, what are some important factors that make your enterprise viable?

My social upkeep. Ain’t nobody in this industry that don’t tell you they don’t speak to me at least once a month. I’m … in the mix; I go out; I go to clubs; I listen to radio; I listen to mixtapes; I’m online; I’m checking everybody’s blogs out; I’m completely in touch. I don’t move away from this shit at all. I got my wife telling me to get the f——k off the computer sometimes. I’m totally engaged.

With the success of the Norwegian production team, Stargate, do you think more international producers will compete for projects in the urban genre of American music?

Why not? Music is music, no matter where you’re from. I got my boy Tommy D. from Norway whose beats are f——in’ fire, and I’ll take it all day.

So you believe that there’ll be more of an influx of international producers competing with American producers?

I don’t mind, as long as we can get in Europe and make some money out there too and sell some beats, I’m all for it.

Blu Kolla Dreams/EMI singer/songwriter Bobby Valentino and Mosely Music Group/Zone 4/Interscope Records singer/songwriter Keri Hilson will join Keyshia Cole and The-Dream on the A Different Me tour beginning May 13th in Cincinatti, OH.

Bobby V. will be promoting his third studio album, The Rebirth, led by the single “Beep,” featuring Yung Joc, while Keri Hilson will be supporting her debut album, In A Perfect World, which includes the singles “Energy,” “Turnin’ Me On” (featuring Lil’ Wayne), and “Knock You Down” (featuring Kanye West and Ne-Yo).

In addition, the two songbirds Cole and Hilson collaborated on the latter’s next single “Get Your Money Up,” which is also included on her new album.

Below are the dates for the A Different Me tour 

Wed 5/13            Cincinnati, OH             Aronoff Center

Thu 5/14             Milwaukee, WI             Milwaukee Theatre

Fri 5/15               Chicago, IL                   Chicago Theater

Sat 5/16              Detroit, MI                    The Fox Theater 

Thu 5/21            Atlanta, GA                   The Fox Theater

Fri 5/22             Greensboro, NC             Special Events Center

Sat 5/23             Atlantic City, NJ           Mark Etess Arena Taj Mahal

Sun 5/24            New York, NY               Wamu Theater 

Tue 5/26            Boston, MA                    House of Blues

Thu 5/28           Washington, DC            Constitution Hall

Fri 5/29             Richmond, VA              Landmark Theatre

Sat 5/30            Norfolk ,VA                   nTelos Wireless Pavilion

Sun 5/31           Columbia, SC                Township Auditorium 

Tue 6/2             Newark, NJ                  New Jersey Performing Arts Center

Wed 6/3           Cleveland, OH              State Theatre

Fri 6/5              Mashantucket, CT       MGM Grand at Foxwoods

Sat 6/6             Baltimore, MD             Pier Six Pavilion 

Thu 6/11           St. Louis, MO               Fox Theatre

Fri 6/12            Southaven, MS             Desoto Civic Center

Sat 6/13           Dallas, TX                     Nokia Theatre at Grand Prairie

Sun 6/14          Houston,TX                  Reliant Arena 

Thu 6/18         Oakland, CA                 Paramount Theater

Fri 6/19           TBD

Sat 6/20          Los Angeles,CA             Nokia Live

Sun 6/21          Las Vegas, NV             The Pearl

Universal Motown has announced that emerging rapper Kid Cudi has joined the label’s roster, and is currently completing his debut album, Man on the Moon: The Guardian, which is scheduled for a late summer release on Dream On/G.O.O.D. Music/Universal Motown.  

“Kid Cudi is at the vanguard of a game-changing new generation of artists,” said Universal Motown President Sylvia Rhone. “He crosses musical boundaries with an appeal that goes beyond genre, format, race, language, and culture. Cudi lives easily in the hip-hop, indie rock, pop, and R&B worlds – a diversity that shows in his innovative music and his all-embracing persona,” while the executive added, “I am thrilled to welcome Kid Cudi into the Universal Motown family.”

“Partnering Kid Cudi with Universal Motown and Sylvia Rhone couldn’t be a more natural fit,” commented Emile and Plain Pat. “They were the first major company to take notice of our movement and truly grasp our vision. We are thrilled to extend and deepen our relationship. It’s a great feeling to watch the world discover the talent we saw in Cudi over these past years.”

Led by the breakout radio and digital hit “Day ‘N’ Nite,” which is performing well in multi-formats (Rhythmic-Crossover, Mainstream Top 40, Urban, and Alternative), the Cleveland, OH native caught the attention of fellow genre-bender and rap superstar Kanye West, eventually leading to Cudi joining the G.O.O.D Music imprint.

“Cudi is a combination of constant inspiration, struggle, reality and dreams put to melody,” says West.

In addition to his own music, Cudi most recently participated on Kanye West’s album 808s & Heartbreak, co-writing four tracks, including “Heartless” and “Welcome to Heartbreak,” which featured a vocal performance by the up-and-coming artist.

“Day ‘N’ Nite” is also receiving international acclaim with success in Canada, New Zealand, Sweden, Belgium, and the U.K., where the song was remixed by the DJ/production team Crookers.

Cudi is currently embarking on a national press and radio promo tour, with stops at festivals such as Bamboozled and Rothbury. The tour is scheduled to run through late spring and beyond.

As part of a joint venture with G.O.O.D. Music, Cudi plans to launch his own label, Dream On, later this year with partners Emile and Plain Pat.

Rondor Music Publishing promoted Kevin Hall to Senior Vice President of Urban Music, as announced by the company’s president Lance Freed.

“Kevin is intrinsically skilled at cultivating that most precious of all musical commodities: a great song,” said Mr. Freed. “He is an extremely talented publishing executive who always puts our songwriters and their craft first, above all else.”

Hall will continue working with songwriters and signing new artists, writers, and producers, in addition to soliciting new opportunities in television and film for the talent on the Rondor roster. In his new position, Hall is also responsible for building the company’s Urban Music department, adding support staff to further the possibilities available to Rondor writers. 

Hall joined Rondor Music Publishing in 2003, and mostly recently held the position of Vice President of Urban Music. Some of Hall’s signings at Randor have included James Fauntleroy, Sly Jordan, Jason Derulo, Kwame, Trak Starz, Underdog Entertainment, Bobby Valentino, Steve Russell, and DOC. His signings have received 14 BMI and 13 ASCAP Most Performed Song Awards.

Hall is based in Los Angeles and reports to Mr. Freed.

Songbook Entertainment and Atlantic Records recording artist Trey Songz is following up his sophomore album Trey Day with the release of his third album Ready, which arrives in stores and online retailers on June 30th. 

Leading the way for the Grammy-nominated R&B singer’s new album is the single “I Need A Girl,” produced by the Grammy-winning Norwegian production team Stargate (Beyonce, “Irreplacable”; Ne-Yo, “So Sick”; Shakira/Beyonce, “Beautiful Liar”; and Flo Rida’s “Be On You”). The record is currently being added to national Urban Mainstream radio outlets weeks in advance of its official multi-format impact date.

In addition, Songz recently premiered (March 31st) the video to the promotional song “Brand New” on Myspace Music.